This is a modern-English version of Hamlet, Prince of Denmark, originally written by Shakespeare, William.
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and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If
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SHAKESPEARE'S TRAGEDY
OF
HAMLET,
PRINCE OF DENMARK.
ARRANGED FOR REPRESENTATION AT THE
ROYAL PRINCESS'S THEATRE
WITH
EXPLANATORY NOTES,
BY
CHARLES KEAN, F.S.A.
AS PERFORMED ON
MONDAY, JANUARY 10, 1859.
LONDON:
BRADBURY AND EVANS, 11, BOUVERIE STREET.
1859.
LONDON:
BRADBURY AND EVANS, PRINTERS, WHITEFRIARS.
|
Dramatis Personæ |
||
|
Preface |
||
| Act I | Scene 1 | Elsinore. A platform before the Castle |
| Scene 2 | A room of state in the Palace | |
| Scene 3 | A room in Polonius's house | |
| Scene 4 | The platform. | |
| Scene 5 | A more remote part of the platform | |
| Notes | ||
| Act II | Scene 1 | A room in Polonius's house |
| Scene 2 | A room in the Castle | |
| Notes | ||
| Act III | Scene 1 | A room in the Castle |
| Scene 2 | A room in the same | |
| Scene 3 | The Queen's chamber | |
| Notes | ||
| Act IV | Scene 1 | A room in the Castle |
| Notes | ||
| Act V | Scene 1 | A church yard |
| Scene 2 | Hall in the Castle | |
| Scene 3 | Room in the Castle | |
| Notes | ||
| Electronic Transcriber's Note | ||
DRAMATIS PERSONÆ.
| Claudius (King of Denmark) | Mr. Ryder. | ||
| Hamlet (son to the former and nephew to the present King) | Mr. Charles Kean. | ||
| Polonius (Lord Chamberlain) | Mr. Meadows. | ||
| Horace (friend To Hamlet) | Mr. Graham. | ||
| Laertes (son To Polonius) | Mr. J.F. Cathcart. | ||
|
Mr. Brazier. Mr. Brazier. Mr. G. Everett. Mr. G. Everett. Mr. David Fisher. Mr. David Fisher. |
||
| Clergy | Mr. Terry. | ||
| Marcellus | Mr. Paulo. | ||
| Bernardo | Mr. Daly. | ||
| Francisco | Mr. Collett. | ||
| Hamlet's Father's Ghost | Mr. Walter Lacy. | ||
| First Grave Digger | Mr. Frank Matthews. | ||
| Second Gravedigger | Mr. H. Saker. | ||
| First Player | Mr. F. Cooke. | ||
| Second Player | Mr. Rolleston. | ||
| Gertrude (Queen of Denmark, and mother of Hamlet) | Mrs. Charles Kean. | ||
| Ophelia (daughter of Polonius) | Miss Health. | ||
| Actor | Miss Daly. |
STAGE DIRECTIONS.
R.H. means Right Hand; L.H. Left Hand; U.E. Upper Entrance; R.H.C. Enters through the Centre from the Right Hand; L.H.C. Enters through the Centre from the Left Hand.
R.H. means Right Hand; L.H. Left Hand; U.E. Upper Entrance; R.H.C. enters through the center from the Right Hand; L.H.C. enters through the center from the Left Hand.
Relative Positions of the Performers when on the Stage.
Relative Positions of the Performers on Stage.
R. means on the Right side of the Stage; L. on the Left side of the Stage; C. Centre of the Stage; R.C. Right Centre of the Stage; L.C. Left Centre of the Stage.
R. means on the right side of the stage; L. on the left side of the stage; C. center of the stage; R.C. right center of the stage; L.C. left center of the stage.
The reader is supposed to be on the Stage, facing the audience.
The reader is meant to be on the Stage, facing the audience.
PREFACE.
The play of Hamlet is above all others the most stupendous monument of Shakespeare's genius, standing as a beacon to command the wonder and admiration of the world, and as a memorial to future generations, that the mind of its author was moved by little less than inspiration. Lear, with its sublime picture of human misery;—Othello, with its harrowing overthrow of a nature great and amiable;—Macbeth, with its fearful murder of a monarch, whose "virtues plead like angels trumpet-tongued against the deep damnation of his taking off,"—severally exhibit, in the most pre-eminent degree, all those mighty elements which constitute the perfection of tragic art—the grand, the pitiful, and the terrible. Hamlet is a history of mind—a tragedy of thought. It contains the deepest philosophy, and most profound wisdom; yet speaks the language of the heart, touching the secret spring of every sense and feeling. Here we have no ideal exaltation of character, but life with its blended faults ands,—a gentle nature unstrung by passing events, and thus rendered "out of tune and harsh."
The play of Hamlet is, above all others, the most incredible testament to Shakespeare's genius, serving as a beacon that commands the wonder and admiration of the world, and as a memorial for future generations, showing that the mind of its author was inspired. Lear, with its powerful depiction of human suffering;—Othello, with its heartbreaking downfall of a noble and kind nature;—Macbeth, with its horrific murder of a king, whose "virtues plead like angels trumpet-tongued against the deep damnation of his taking off,"—each showcases, in the highest degree, all the powerful elements that make up the perfection of tragic art—the grand, the pitiful, and the terrible. Hamlet tells a story of the mind—a tragedy of thought. It holds the deepest philosophy and the most profound wisdom; yet it speaks the language of the heart, touching the secret spring of every sense and feeling. Here, we encounter no idealized elevation of character, but life with its mixed faults—a gentle nature thrown off balance by passing events, and thus rendered "out of tune and harsh."
The original story of Hamlet is to be found in the Latin pages of the Danish historian, Saxo Grammaticus, who died in the year 1208. Towards the end of the sixteenth century, the French author, Francis de Belleforest, introduced the fable into a collection of novels, which were translated into English, and printed in a small quarto black letter volume, under the title of the "Historie of Hamblett," from which source Shakespeare constructed the present tragedy.
The original story of Hamlet comes from the Latin writings of the Danish historian Saxo Grammaticus, who died in 1208. Near the end of the sixteenth century, the French writer Francis de Belleforest adapted the tale into a collection of novels, which were translated into English and printed in a small quarto black letter edition titled "Historie of Hamblett," from which Shakespeare derived the current tragedy.
Saxo has placed his history about 200 years before Christianity, when barbarians, clothed in skins, peopled the shores of the Baltic. The poet, however, has so far modernised the subject as to make Hamlet a Christian, and England tributary to the "sovereign majesty of Denmark." A date can therefore be easily fixed, and the costume of the tenth and eleventh centuries may be selected for the purpose. There are but few authentic records in existence, but these few afford reason to believe that very slight difference existed between the dress of the Dane and that of the Anglo-Saxon of the same period.
Saxo set his history about 200 years before Christianity, when barbarians in animal skins settled along the shores of the Baltic. However, the poet has updated the story enough to make Hamlet a Christian and England dependent on the "sovereign majesty of Denmark." So, it's easy to determine a date, and we can choose the fashion from the tenth and eleventh centuries for this. There are only a few reliable records left, but they suggest that there was very little difference between the clothing of the Danes and that of the Anglo-Saxons during that time.
Since its first representation, upwards of two centuries and a half ago, no play has been acted so frequently, or commanded such universal admiration. It draws within the sphere of its attraction both the scholastic and the unlearned. It finds a response in every breast, however high or however humble. By its colossal aid it exalts the drama of England above that of every nation, past or present. It is, indeed, the most marvellous creation of human intellect.
Since it was first performed over two and a half centuries ago, no play has been staged as often or received such widespread admiration. It captivates both the educated and the uneducated. It resonates with everyone, no matter their social standing. Through its immense influence, it elevates English drama above that of any other nation, past or present. It is truly the most remarkable creation of human intellect.
CHARLES KEAN.
CHARLES KEAN.
7
7
HAMLET,
PRINCE OF DENMARK.
ACT I.
Scene 1.—ELSINORE. A platform in front of the castle. Night.
Francisco on his post. Enter to him Bernardo, L.H.
Francisco on duty. Bernardo enters, L.H.
Ber. Who's there?
Ber. Who's there?
Ber. Long live the king!3
Long live the king! __A_TAG_PLACEHOLDER_0__
Fran.
Fran.
Bernardo?
Bernardo?
Ber.
Ber.
He.
He.
Fran. You come most carefully upon your hour.
Fran. You showed up right on time.
Ber. 'Tis now struck twelve; get thee to bed, Francisco.
Ber. It's now midnight; go to bed, Francisco.
Fran. For this relief much thanks: [Crosses to L.] 'tis bitter cold,
Fran. Thanks a lot for this relief: [Crosses to L.] it’s really cold,
And I am sick at heart.
And I feel sick at heart.
Ber. Have you had quiet guard?
Ber. Have you had a quiet guard?
Fran.
Fran.
Not a mouse stirring.
Not a mouse moving.
Ber. Well, good night.
Ber. Well, goodnight.
If you do meet Horatio and Marcellus,
If you happen to run into Horatio and Marcellus,
Fran. I think I hear them.—Stand, ho! Who's there?
Fran. I think I hear them.—Hold on! Who's there?
Hor. Friends to this ground.
Hor. Friends to this place.
Mar.
Mar.
And liegemen to the Dane.5
And vassals to the Dane.__A_TAG_PLACEHOLDER_0__
Enter Horatio and Marcellus L.H.
Enter Horatio and Marcellus L.H.
Fran. Give you good night.
Good night, Fran.
Mar.
Mar.
O, farewell, honest soldier:
Goodbye, honest soldier:
Who hath reliev'd you?
Who has helped you?
Fran. Bernardo hath my place.
Fran. Bernardo has my spot.
Give you good night.
Good night to you.
[Exit Francisco, L.H.]
[Exit Francisco, L.H.]
Mar.
Mar.
Holloa! Bernardo!
Hey! Bernardo!
Ber.
Ber.
Say,
Speak,
What, is Horatio there?
Is Horatio there?
Ber. (R.) Welcome, Horatio: welcome, good Marcellus.
Ber. (R.) Hey, Horatio: glad to see you, Marcellus.
Hor. What, has this thing appear'd again to-night?
Hor. What, has this thing shown up again tonight?
Ber. I have seen nothing.
Ber. I haven't seen anything.
Mar. (L.) Horatio says, 'tis but our fantasy,
Mar. (L.) Horatio says, "It's just our imagination,
And will not let belief take hold of him,
And won't let belief take hold of him,
Touching this dreaded sight, twice seen of us:
Touching this frightening sight, we've seen it twice:
Therefore I have entreated him, along
Therefore I have asked him, along
That, if again this apparition come,
That, if this ghost appears again,
Hor. Tush! tush! 'twill not appear.
Tush! Tush! It won't show.
Ber. Come, let us once again assail your ears,
Ber. Come, let’s attack your ears once more,
That are so fortified against our story,
That are so resistant to our story,
Hor. Well, let us hear Bernardo speak of this.
Hor. Alright, let's hear what Bernardo has to say about this.
Ber. Last night of all,
Ber. Last night ever,
When yon same star that's westward from the pole
When that same star that's to the west of the North Pole
Had made his course to illume that part of heaven
Had made his path to light up that part of the sky
Where now it burns, Marcellus, and myself,
Where it burns now, Marcellus, and I,
The bell then beating one—
The bell then struck one—
9Mar. Peace, break thee off; look, where it comes again!
9Mar. Peace, stop; look, here it comes again!
Enter Ghost L.H.
Enter Ghost L.H.
Ber. In the same figure, like the king that's dead.
Ber. In the same form, like the king who has died.
Ber. It would be spoke to.
Ber. It would be discussed.
Mar. Speak to it, Horatio.
Mar. Talk to it, Horatio.
Hor. What art thou, that usurp'st this time of night,11
Hor. Who are you, taking over this time of night?11
Together with that fair and warlike form
Together with that beautiful and fierce figure
In which the majesty of buried Denmark
In which the greatness of buried Denmark
Did sometimes march? By heaven I charge thee, speak!
Did you sometimes march? By heaven, I command you to speak!
Mar. It is offended.
Mar. It's offended.
[Ghost crosses to R.]
[Ghost walks over to R.]
Ber.
Ber.
See! it stalks away!
Look! It's stalking away!
Hor. Stay!—speak!—speak, I charge thee, speak!
Stay!—speak!—I command you, speak!
[Exit Ghost, R.H.]
[Exit Ghost, R.H.]
Mar. 'Tis gone, and will not answer.
It's gone and won't respond.
Ber. How now, Horatio! You tremble, and look pale:
Ber. Hey, Horatio! You’re shaking and look really pale:
Is not this something more than fantasy?
Isn’t this something more than just a fantasy?
What think you of it?
What do you think of it?
Hor. Before heaven, I might not this believe,
Hor. Honestly, I couldn't believe this for a second,
Of mine own eyes.
With my own eyes.
Mar.
Mar.
Is it not like the king?
Is it not like the king?
Hor. As thou art to thyself:
Hor. As you are to yourself:
Such was the very armour he had on,
Such was the very armor he wore,
When he the ambitious Norway combated.
When he, the ambitious Norway, fought.
Mar. Thus, twice before, and jump at this dead hour,13
Mar. So, twice before, and jump at this late hour, 13
With martial stalk hath he gone by our watch.
With a stiff posture, he has passed by our watch.
Hor. In what particular thought to work,14 I know not;
Hor. I'm not sure what specific thought to focus on.14
But in the gross and scope15 of mine opinion,
But in the overall view of my opinion,
This bodes some strange eruption to our state.16
This suggests something unusual is about to happen in our state.16
In the most high and palmy17 state of Rome,
In the most glorious and prosperous state of Rome,
A little ere the mightiest Julius fell,
A little before the great Julius fell,
The graves stood tenantless, and the sheeted dead
The graves were empty, and the covered dead
Did squeak and gibber in the Roman streets.
Did squeak and chatter in the Roman streets.
Re-enter Ghost R.H.
Re-enter Ghost R.H.
But, (L.C.) soft, behold! lo, where it comes again!
But, (L.C.) soft, look! Here it comes again!
I'll cross it, though it blast me.
I'll cross it, even if it destroys me.
[Horatio crosses in front of the Ghost to R. Ghost crosses to L.]
[Horatio walks in front of the Spirit to R. Specter moves to L.]
Stay, illusion!
Stay, dream!
Speak to me:
Talk to me:
If there be any good thing to be done,
If there is anything good to be done,
That may to thee do ease, and grace to me,
That might bring you comfort, and grace to me,
Speak to me:
Talk to me:
If thou art privy to thy country's fate,
If you are aware of your country's fate,
Which, happily, foreknowing may avoid,
Which, happily, knowing may avoid,
O, speak!
Speak up!
O, if thou hast uphoarded in thy life
O, if you have hoarded in your life
For which, they say, you spirits oft walk in death,
For which, they say, you spirits often wander in death,
Speak of it:—stay, and speak!
Talk about it:—stay and talk!
[Exit Ghost, L.H.]
[Exit Ghost, L.H.]
Mar. 'Tis gone!
Mar. It's gone!
We do it wrong, being so majestical,
We do it wrong, being so majestic,
To offer it the show of violence.
To give it a display of violence.
Ber. It was about to speak, when the cock crew.
Ber. It was about to speak when the rooster crowed.
Hor. And then it started like a guilty thing
Hor. And then it began like something shameful
The cock, that is the trumpet of the morn,
The rooster, which is the trumpet of the morning,
Awake the god of day; and, at his warning,
Awake the sun god; and, at his signal,
Whether in sea or fire, in earth or air,
Whether in the sea or fire, on land or in the air,
The extravagant and erring spirit22 hies
The lavish and misguided spirit __A_TAG_PLACEHOLDER_0__ hurries
To his confine.
To his confinement.
But, look, the morn, in russet mantle clad,
But, look, the morning, dressed in a warm red cloak,
Walks o'er the dew of yon high eastern hill:
Walks over the dew of that high eastern hill:
Break we our watch up; and, by my advice,
Break we our watch up; and, in my opinion,
Let us impart what we have seen to-night
Let us share what we witnessed tonight.
Unto young Hamlet; for, upon my life,
Unto young Hamlet; because, I swear to you,
This spirit, dumb to us, will speak to him.
This spirit, silent to us, will communicate with him.
[Exeunt, L.H.]
[Exit, L.H.]
Scene 2.—A ROOM OF STATE IN THE PALACE.
Trumpet March.
Trumpet March.
Enter the King and Queen, preceded by Polonius, Hamlet, Laertes23, Lords, Ladies, and Attendants.
Enter the King and Queen, followed by Polonius, Hamlet, Laertes__A_TAG_PLACEHOLDER_0__, Lords, Ladies, and Attendants.
King. R.C. Though yet of Hamlet our dear brother's death
King. R.C. Although we are still mourning the death of our beloved brother Hamlet,
To bear our hearts in grief, and our whole kingdom
To carry our hearts in sorrow, and our entire kingdom
To be contracted in one brow of woe;
To be burdened by a single expression of sorrow;
Yet so far hath discretion fought with nature,
Yet so far has discretion struggled against nature,
That we with wisest sorrow25 think on him,
That we with the wisest sadness think of him,
Together with remembrance of ourselves.
Together with self-remembering.
Therefore our sometime sister, now our queen,
Therefore our former sister, now our queen,
The imperial jointress of this warlike state,
The ruling lady of this militaristic state,
Your better wisdoms, which have freely gone
Your better insights, which have come easily
With this affair along:—For all, our thanks.
With this matter settled:—Thanks to everyone.
And now, Laertes, what's the news with you?
And now, Laertes, what's going on with you?
You told us of some suit; What is't, Laertes?
You mentioned a lawsuit; what’s going on, Laertes?
Laer. (R.)
Laer. (R.)
My dread lord,
My dark lord,
From whence though willingly I came to Denmark,
From where I willingly came to Denmark,
To show my duty in your coronation,
To demonstrate my commitment during your coronation,
Yet now, I must confess, that duty done,
Yet now, I must admit, that task completed,
My thoughts and wishes bend again toward France,
My thoughts and wishes turn back to France,
And bow them to your gracious leave and pardon.
And bow to your kind permission and forgiveness.
King. Have you your father's leave? What says Polonious?
King. Do you have your father's permission? What does Polonius say?
Pol. (R.) He hath, my lord, (wrung from me my slow leave
Pol. (R.) He has, my lord, (forced me to give my reluctant permission
By laboursome petition; and, at last,
By hard work and determination; and finally,
I do beseech you, give him leave to go.
I sincerely ask you to let him go.
King. Take thy fair hour, Laertes; time be thine,
King. Take your time, Laertes; it's yours to use.
But now, my cousin Hamlet, and my son,——
But now, my cousin Hamlet, and my son,—
Ham. (L.) A little more than kin, and less than kind.31
Ham. (L.) A bit more related, and not so friendly. 31
[Aside.]
[By the way.]
13King. How is it that the clouds still hang on you?
13King. Why do you still look so troubled?
Queen. (L.C.) Good Hamlet, cast thy nighted colour33 off,
Queen. (L.C.) Good Hamlet, take off your dark clothes, 33
And let thine eye look like a friend on Denmark.
And let your eye regard Denmark like a friend.
Seek for thy noble father in the dust:
Seek your noble father in the dust:
Thou know'st 'tis common, all that live must die,
Thou know'st 'tis common, all that live must die,
Passing through nature to eternity.
Passing through nature to forever.
Ham. Ay, madam, it is common.
Ham. Yes, madam, it's common.
Queen.
Queen.
If it be,
If it is,
Why seems it so particular with thee?
Why does it seem so special to you?
Ham. Seems, madam! nay, it is; I know not seems.
Ham. It appears, madam! No, it is; I don't know what appears.
'Tis not alone my inky cloak, good mother,
'Tis not just my dark cloak, good mother,
Nor the dejected haviour of the visage,
Nor the dejected behavior of the face,
No, nor the fruitful river in the eye,
No, nor the productive river in the eye,
Together with all forms, modes, shows of grief,
Together with all kinds, ways, and displays of grief,
That can denote me truly: These, indeed, seem,
That can really define me: These, indeed, seem,
For they are actions that a man might play.
For they are actions that a man might perform.
King. 'Tis sweet and commendable in your nature, Hamlet,
King. It's sweet and admirable in you, Hamlet,
To give these mourning duties to your father:
To assign these mourning responsibilities to your father:
But, you must know, your father lost a father;
But you should know, your father lost his dad;
That father lost, lost his;37 and the survivor bound,
That father lost, lost his;37 and the survivor bound,
In filial obligation, for some term
In family duty, for some time
In obstinate condolement,40 is a course
In stubborn comfort, __A_TAG_PLACEHOLDER_0__ is a way
Of impious stubbornness; 'tis unmanly grief:
Of sinful stubbornness; it's unmanly sorrow:
It shows a will most incorrect to Heaven.41
It shows a will that is really off from what Heaven wants.41
We pray you, throw to earth
We ask you, throw to the ground
As of a father: for let the world take note,
As for a father: let the world take notice,
You are the most immediate to our throne;
You are the closest to our throne;
Our chiefest courtier, cousin, and our son.
Our most important courtier, cousin, and our son.
Queen. Let not thy mother lose her prayers, Hamlet:
Queen. Don’t let your mother stop praying, Hamlet:
I pray thee, stay with us; go not to Wittenberg.
I beg you, stay with us; don’t go to Wittenberg.
Ham. I shall in all my best obey you, madam.
Ham. I’ll do my best to obey you, ma'am.
King. Why, 'tis a loving and a fair reply;
King. Well, that's a loving and nice response;
Be as ourself in Denmark.—Madam, come;
Be yourself in Denmark. — Ma'am, come;
This gentle and unforc'd accord of Hamlet
This gentle and unforced agreement of Hamlet
But the great cannon to the clouds shall tell;
But the huge cannon to the clouds will announce;
Re-speaking earthly thunder.
Re-speaking earthly thunder.
[Trumpet March repeated. Exeunt King and Queen, preceded by Polonius, Lords, Ladies, Laertes, and Attendants, R.H.]
[Trumpet March repeats. Exit King and Queen, followed by Polonius, Lords, Women, Laertes, and Staff, R.H.]
Ham. O, that this too, too solid flesh would melt,
Ham. Oh, that this heavy flesh would just melt away,
Thaw, and resolve itself46 into a dew!
Melt and become dew!
Or that the Everlasting had not fix'd
Or that the Everlasting had not fixed
How weary, stale, flat, and unprofitable
How tired, dull, boring, and unproductive
Fye on't! O fye! 'tis an unweeded garden,
Foul! Oh, foul! It’s a garden overrun with weeds,
That grows to seed; things rank and gross in nature
That develops seeds; things are unruly and unpleasant by nature.
Possess it merely.49 That it should come to this!
Possess it just like that.49 I can’t believe it’s come to this!
But two months dead!—nay, not so much, not two:
But two months gone!—no, not even that, not two:
So excellent a king; that was, to this,
So great a king; that was, to this,
That he might not beteem51 the winds of heaven
That he might not allow the winds of heaven
Visit her face too roughly. Heaven and earth!
Visit her face too roughly. Heaven and earth!
Must I remember? why, she would hang on him,
Must I remember? Well, she would cling to him,
As if increase of appetite had grown
As if the appetite had increased
By what it fed on: And yet, within a month,—
By what it fed on: And yet, within a month,—
Let me not think on't,—Frailty, thy name is Woman!—
Let me not think about it—Weakness, your name is Woman!—
A little month; or ere those shoes were old
A little while; or before those shoes got old
With which she follow'd my poor father's body,
With which she followed my poor father's body,
Like Niobe, all tears;—she married with my uncle,
Like Niobe, all tears;—she married my uncle,
My father's brother; but no more like my father
My dad's brother; but not at all like my dad
Than I to Hercules.
Than I to Hercules.
It is not, nor it cannot come to, good:
It isn't good, and it can't lead to anything good:
But break, my heart, for I must hold my tongue!
But break, my heart, because I have to keep quiet!
Enter Horatio, Bernardo, and Marcellus R.H.
Enter Horatio, Bernardo, and Marcellus R.H.
Hor. Hail to your lordship!
Hail to your lord!
Ham.
Ham.
I am glad to see you well:
I’m happy to see you doing well:
Horatio,—or I do forget myself.
Horatio—sorry, I lost track.
Hor. The same, my lord, and your poor servant ever.
Hor. The same, my lord, and your loyal servant always.
Ham. Sir, my good friend; I'll change that name with you:52
Ham. Sir, my good friend; I'll swap that name with you:52
And what make you from Wittenberg, Horatio?—
And what brings you from Wittenberg, Horatio?—
Marcellus?
Marcellus?
[Crosses to C.]
[Walks over to C.]
Mar. (R.) My good lord,—
Mar. (R.) My lord,—
16Ham. (C.) I am very glad to see you; good even, sir.
16Ham. (C.) I'm really happy to see you; good evening, sir.
[To Bernardo, R.]
[To Bernardo, R.]
Hor. (L.) A truant disposition, good my lord.
Hor. (L.) A tendency to skip class, my lord.
Ham. I would not hear your enemy say so;
Ham. I wouldn't want to hear your enemy say that;
Nor shall you do mine ear that violence,
Nor will you do my ears that violence,
To make it truster of your own report
To make it more credible for your own report
Against yourself: I know you are no truant.
Against yourself: I know you are not skipping out.
But what is your affair in Elsinore?
But what's your business in Elsinore?
We'll teach you to drink deep, ere you depart.
We'll teach you to drink deeply before you leave.
Hor. My lord, I came to see your father's funeral.
Hor. My lord, I came to attend your father's funeral.
Ham. I pray thee, do not mock me, fellow-student;
Ham. Please, don't tease me, fellow student;
I think it was to see my mother's wedding.
I think it was to see my mom's wedding.
Hor. Indeed, my lord, it followed hard upon.
Hor. Yes, my lord, it happened very quickly.
Ham. Thrift, thrift, Horatio! the funeral bak'd meats
Ham. Save your money, Horatio! The leftover food from the funeral
Did coldly furnish forth the marriage tables.
Did coldly set up the marriage tables.
Ere ever I had seen that day, Horatio!
Ere ever I had seen that day, Horatio!
My father,—Methinks, I see my father.
My father— I think I see my father.
Hor.
Hor.
Where,
Where at?
My lord?
My lord?
Ham. In my mind's eye, Horatio.
Ham. In my imagination, Horatio.
Ham. He was a man, take him for all in all,
Ham. He was a man, all things considered,
I shall not look upon his like again.
I won’t see anyone like him again.
[Crosses to L.]
[Moves to L.]
Hor. (C.) My lord, I think I saw him yesternight.
Hor. (C.) My lord, I believe I saw him last night.
Ham. Saw who?
Ham. Who did you see?
Hor. My lord, the king your father.
Hor. My lord, your father the king.
Ham.
Ham.
The king my father!
My father, the king!
With an attent ear; till I may deliver,
With a careful ear; until I can share,
Upon the witness of these gentlemen,
Upon the testimony of these gentlemen,
This marvel to you.
This amazes you.
Ham.
Ham.
For Heaven's love, let me hear.
For heaven's sake, let me hear.
Hor. Two nights together had these gentlemen,
Hor. These gentlemen have spent two nights together,
Marcellus and Bernardo, on their watch,
Marcellus and Bernardo, on their watch,
Been thus encounter'd. A figure like your father,
Been thus encounter'd. A figure like your father,
Arm'd at all points exactly, cap-à-pé,
Armored at every point, from head to toe,
Appears before them, and, with solemn march
Appears in front of them, and with a serious march
Goes slow and stately by them: thrice he walk'd
Goes slowly and with dignity past them: he walked three times.
By their oppress'd and fear-surprisèd eyes,
By their oppressed and fear-surprised eyes,
Within his truncheon's length; whilst they, distill'd
Within reach of his baton; while they, distilled
Stand dumb, and speak not to him. This to me
Stand silent, and don’t talk to him.
In dreadful secrecy impart they did;
In horrible secrecy, they shared it;
And I with them the third night kept the watch:
And I watched with them the third night:
Where, as they had deliver'd, both in time,
Where, as they had delivered, both on time,
Form of the thing, each word made true and good,
Form of the thing, each word made real and right,
The apparition comes.
The ghost appears.
Ham. But where was this?
Ham. But where was this located?
[Crosses to Marcellus.]
[Walks over to Marcellus.]
Mar. (R.) My lord, upon the platform where we watch'd.
Mar. (R.) My lord, on the platform where we were watching.
Ham. (C.) Did you not speak to it?
Ham. (C.) Didn't you talk to it?
Hor. (L.)
Hor. (L.)
My lord, I did;
My lord, I did;
But answer made it none: yet once methought
But no answer was given: yet once I thought
Itself to motion, like as it would speak:
It moves on its own, as if it could talk:
But, even then, the morning cock crew loud,
But even then, the morning rooster crowed loudly,
And at the sound it shrunk in haste away;
And at the sound, it quickly shrank away;
And vanish'd from our sight.
And disappeared from our sight.
Ham.
Ham.
'Tis very strange.
It's very strange.
Hor. As I do live, my honour'd lord, 'tis true;
Hor. I swear, my respected lord, it’s true;
To let you know of it.
To keep you updated on it.
18Ham. Indeed, indeed, sirs, but this troubles me.
18Ham. Honestly, honestly, gentlemen, this really bothers me.
Hold you the watch to-night?
Do you have the watch tonight?
Mar.
Mar.
We do, my lord.
We do, sir.
Ham. Arm'd, say you?
Ham. Armed, you say?
Mar.
Mar.
Arm'd, my lord.
Armed, my lord.
Ham.
Ham.
From top to toe?
From head to toe?
Mar. My lord, from head to foot.
Mar. My lord, from head to toe.
Ham.
Ham.
Then saw you not
Then you didn't see.
His face?
His expression?
Ham. What, looked he frowningly?
Ham. What, did he look mad?
Hor.
Hor.
A countenance more
A more expressive face
In sorrow than in anger.
In sadness rather than anger.
Ham.
Ham.
Pale or red?
Light or dark?
Hor. Nay, very pale.
Nay, very pale.
Ham.
Ham.
And fix'd his eyes upon you?
And fixed his eyes on you?
Hor. Most constantly.
Hor. Very often.
Ham.
Ham.
I would I had been there.
I wish I had been there.
Hor. It would have much amaz'd you.
Hor. It would have surprised you a lot.
Ham.
Ham.
Very like,
Very similar,
Very like. Stay'd it long?
Very similar. Stayed long?
Hor. While one with moderate haste might tell a hundred.
Hor. While someone with a bit of urgency could share a hundred.
|
Mar. Mar. Ber. Ber. |
Longer, Longer. Longer, longer. |
Hor. Not when I saw it.
Not when I saw it.
Ham.
Ham.
His beard was grizzl'd, No?
His beard was grizzled, right?
Hor. It was, as I have seen it in his life,
Hor. It was, just as I've witnessed it in his life,
A sable silver'd.
A silvered sable.
Ham.
Ham.
I will watch to-night;
I will watch tonight;
Perchance, 'twill walk again.
Maybe it will walk again.
Hor. (C.)
Hor. (C.)
I warrant it will.
I guarantee it will.
Ham. If it assume my noble father's person,
Ham. If it takes on the appearance of my noble father,
I'll speak to it, though hell itself should gape,
I'll talk about it, even if hell itself should open up,
And bid me hold my peace. [Crosses to L.] I pray you all,
And tell me to be quiet. [Crosses to L.] I ask all of you,
If you have hitherto conceal'd this sight,
If you have hidden this sight until now,
And whatsoever else shall hap to-night,
And whatever else goes down tonight,
Give it an understanding, but no tongue;
Give it an understanding, but don’t speak about it;
I will requite your loves. So, fare you well:
I will repay your love. So, take care:
Upon the platform, 'twixt eleven and twelve,
Upon the platform, between eleven and twelve,
I'll visit you.
I’ll come see you.
Hor. (R.)
Hor. (R.)
Our duty to your honour.
Our duty to your honor.
Ham. Your loves, as mine to you: Farewell.
Ham. My feelings for you are just like yours for me: Goodbye.
[Exeunt Horatio, Marcellus, and Bernardo, R.H.]
[Exit Horatio, Marcellus, and Bernardo, R.H.]
My father's spirit in arms! all is not well;
My father’s spirit in arms! Everything is not okay;
I doubt some foul play: 'would the night were come;
I suspect something shady is going on: "I wish the night would come;"
Till then sit still, my soul: Foul deeds will rise,
Till then sit still, my soul: Bad actions will come to light,
Though all the earth o'erwhelm them, to men's eyes.
Though all the earth covers them, to people's eyes.
[Exit, L.H.]
[Exit, L.H.]
Scene 3.—A ROOM IN POLONIUS'S HOUSE.
Enter Laertes and Ophelia (R.H.)
Enter Laertes and Ophelia (R.H.)
Laer. (L.C.) My necessaries are embarked: farewell:
Laer. (L.C.) I have my things loaded up: goodbye:
Let me hear from you.
Get back to me.
Oph. (R.C.)
Oph. (R.C.)
Do you doubt that?
Do you really doubt that?
Laer. For Hamlet, and the trifling of his favour,66
Laer. For Hamlet, and the triviality of his affection,66
Hold it a fashion, and a toy in blood;
Hold it in style, and a plaything in essence;
A violet in the youth of primy nature,
A violet in the early stages of its growth,
Forward, not permanent, sweet, not lasting,
Forward, not permanent, sweet, not lasting,
Oph. No more but so?
Oph. That's all there is?
Laer. He may not, as unvalued persons do,
Laer. He shouldn't, like people who have no worth,
Carve for himself; for on his choice depends
Carve out his own path; because his choice matters.
The safety and the health of the whole state.
The safety and health of the entire state.
Then weigh what loss your honour may sustain,
Then consider what loss your honor might face,
If with too credent ear you list his songs.
If you listen to his songs with too trusting a heart.
Fear it, Ophelia, fear it, my dear sister;
Fear it, Ophelia, fear it, my dear sister;
Out of the shot and danger of desire.
Out of the line of fire and away from the risks of desire.
The chariest maid69 is prodigal enough,
The most cautious girl is generous enough,
If she unmask her beauty to the moon:
If she reveals her beauty to the moon:
Virtue itself scapes not calumnious strokes:
Virtue itself doesn’t escape slanderous attacks:
Be wary, then; best safety lies in fear:
Be careful, then; the best way to stay safe is to be cautious:
Youth to itself rebels, though none else near.
Youth rebels against itself, even when no one else is around.
Oph. I shall the effect of this good lesson keep,
Oph. I will remember the impact of this valuable lesson,
As watchman to my heart. But, good my brother,
As the guardian of my heart. But, my dear brother,
Do not, as some ungracious pastors do,
Do not, like some unkind pastors do,
Show me the steep and thorny way to heaven
Show me the steep and thorny path to heaven
Himself the primrose path of dalliance treads,
Himself walks the easy path of indulgence,
Laer.
Later.
O, fear me not.
Oh, don’t be afraid of me.
I stay too long;—but here my father comes.
I’ve stayed too long;—but here comes my dad.
Enter Polonius (L.H.)
Enter Polonius (L.H.)
Pol. Yet here, Laertes! aboard, aboard, for shame!
Pol. But here, Laertes! Get on board, come on, don’t be ashamed!
And you are staid for. There,—my blessing with you!
And you're all set. There,—my blessing is with you!
[Laying his hand on Laertes' head.]
[Resting his hand on Laertes' head.]
And these few precepts in thy memory—
And keep these few rules in mind—
Be thou familiar, but by no means vulgar.
Be friendly, but don't be tacky.
The friends thou hast, and their adoption tried,
The friends you have, and their proven loyalty,
Grapple them to thy soul with hooks of steel;
Grapple them to your soul with steel hooks;
But do not dull thy palm with entertainment
But don't waste your time on distractions.
Of each new-hatch'd, unfledg'd comrade. Beware
Of each newly hatched, untrained buddy. Watch out.
Of entrance to a quarrel; but being in,
Of entering a dispute; but since we're in,
Bear it, that the opposer may beware of thee.
Bear it, so that your opponent may be cautious of you.
Give every man thine ear, but few thy voice:
Listen to everyone, but speak to only a few:
Take each man's censure,75 but reserve thy judgment.
Take each person's criticism, 75 but hold back your judgement.
Costly thy habit as thy purse can buy,
Costly your clothes as your wallet can afford,
But not express'd in fancy; rich, not gaudy:
But not expressed in a flashy way; rich, not overdone:
For the apparel oft proclaims the man;
For the clothes often reveal the character of a person;
And they in France of the best rank and station
And they in France of the highest rank and position
Are most select and generous, chief in that.76
Are the most selective and generous, leading in that. 76
Neither a borrower nor a lender be:
Don't borrow or lend.
For loan oft loses both itself and friend;
For a loan often costs you both money and a friend;
This above all,—To thine ownself be true;
This above all—be true to yourself;
And it must follow, as the night the day,
And it has to follow, just like night follows day,
Thou canst not then be false to any man.
You cannot then be dishonest to anyone.
Laer. Most humbly do I take my leave, my lord.
Laer. I humbly take my leave, my lord.
[Crosses to L.]
[Walks over to L.]
Farewell, Ophelia; and remember well
Goodbye, Ophelia; and remember this
What I have said to you.
What I've shared with you.
Oph. (Crosses to Laertes.) 'Tis in my memory lock'd,
Oph. (Crosses to Laertes.) It's locked in my memory,
Laer. Farewell.
Later. Bye.
[Exit Laertes, L.H.]
[Exit Laertes, L.H.]
Pol. What is it, Ophelia, he hath said to you?
Pol. What did he say to you, Ophelia?
Oph. So please you, something touching the lord Hamlet.
Oph. If it’s alright with you, I’d like to discuss something about Lord Hamlet.
Pol. Marry, well bethought:
Marry, well considered:
'Tis told me, he hath very oft of late
'Tis told me, he has been saying quite often lately
Have of your audience been most free and bounteous:
Have your audience been most generous and giving:
And that in way of caution), I must tell you,
And just as a precaution, I have to tell you,
You do not understand yourself so clearly
You don't understand yourself that clearly.
As it behoves my daughter, and your honour.
As it is proper for my daughter, and your honor.
Oph. He hath, my lord, of late, made many tenders
Oph. Recently, my lord, he has made many offers
Of his affection to me.
Of his love for me.
Pol. Affection! pooh! you speak like a green girl,
Pol. Love? Come on! You sound like a naive girl,
Unsifted83 in such perilous circumstance.
Unsifted __A_TAG_PLACEHOLDER_0__ in this dangerous situation.
Do you believe his tenders, as you call them?
Do you really believe his offers, as you call them?
Oph. I do not know, my lord, what I should think.
Oph. I don't know, my lord, what I should think.
Pol. Marry, I'll teach you: think yourself a baby;
Pol. Seriously, I'll show you: just think of yourself as a baby;
That you have ta'en these tenders for true pay,
That you have accepted these offers as genuine payment,
Which are not sterling. Tender yourself more dearly;
Which are not valuable. Value yourself more highly;
Or, you'll tender me a fool.
Or, you'll make me look like a fool.
Oph. My lord, he hath impórtun'd me with love
Oph. My lord, he has pressed me with his love.
In honourable fashion.
In a respectable manner.
Pol. Ay, fashion you may call it; go to, go to.
Pol. Yeah, you can call it fashion; come on, come on.
Oph. And hath given countenance to his speech, my lord,
Oph. And has supported his words, my lord,
With almost all the holy vows of heaven.
With nearly all the sacred promises of heaven.
Pol. Ay, springes to catch woodcocks.84 I do know,
Pol. Yeah, traps to catch unsuspecting birds.84 I do know,
When the blood burns, how prodigal the soul
When the blood boils, how wasteful the soul
Lends the tongue vows: This is for all,—
Lends the tongue vows: This is for everyone,—
I would not, in plain terms, from this time forth,
I wouldn't, to put it simply, from now on,
As to give words or talk with the lord Hamlet.
As to speak or have a conversation with Lord Hamlet.
Look to't, I charge you: come your ways.
Look to it, I urge you: come this way.
Oph. I shall obey, my lord.
Oph. I will obey, my lord.
[Exeunt, R.H.]
[Exit, R.H.]
Scene 4.—THE PLATFORM. Nighttime.
Enter Hamlet, Horatio, and Marcellus (L.H.U.E.)
Enter Hamlet, Horatio, and Marcellus (L.H.U.E.)
Ham. The air bites shrewdly; it is very cold.
Ham. The air is biting; it's really cold.
23Ham. What hour now?
23Ham. What time is it now?
Hor.
Hor.
I think it lacks of twelve.
I think it needs twelve.
Mar. No, it is struck.
Mar. No, it’s canceled.
Hor. (R.C.) Indeed? I heard it not: then it draws near the season,
Hor. (R.C.) Really? I didn't hear that: so it's almost that time of year,
Wherein the spirit held his wont to walk.
Where the spirit used to walk.
[A Flourish of Trumpets, and Ordnance shot off without.]
[A Flourish of Trumpets, and cannon fire outside.]
What does this mean, my lord?
What does this mean, my lord?
And, as he drains his draughts of Rhenish down,
And, as he drinks his glass of Riesling,
The kettle-drum and trumpet thus bray out
The kettle drum and trumpet then blast out
The triumph of his pledge.
The success of his promise.
Hor.
Hor.
Is it a custom?
Is it a tradition?
Ham. Ay, marry, is't: [Crosses to Horatio.]
Ham. Yes, indeed it is: [Crosses to Horatio.]
But to my mind,—though I am native here,
But to me—though I'm from here,
And to the manner born,—it is a custom
And to the manner born—it’s a custom
More honour'd in the breach than the observance.
More honored in the violation than in the keeping.
Enter Ghost (L.H.)
Enter Ghost (L.H.)
Hor. (R.H.) Look, my lord, it comes!
Hor. (R.H.) Look, my lord, it's coming!
Ham. (C.) Angels and ministers of grace defend us!—
Ham. (C.) Angels and ministers of grace, protect us!—
Be thou a spirit of health or goblin damn'd,
Be you a spirit of health or a damned goblin,
Bring with thee airs from heaven or blasts from hell,
Bring with you breezes from heaven or gusts from hell,
Be thy intents wicked or charitable,
Be your intentions good or bad,
That I will speak to thee: I'll call thee—Hamlet,
That I will talk to you: I'll call you—Hamlet,
King, father: Royal Dane: O, answer me!
King, father: Royal Dane: Oh, answer me!
Let me not burst in ignorance; but tell
Let me not act out of ignorance; but tell
Wherein we saw thee quietly in-urn'd,
Where we saw you quietly buried,
Hath op'd his ponderous and marble jaws,
Hath opened his heavy and marble jaws,
To cast thee up again! What may this mean,
To bring you back again! What could this mean,
That thou, dead corse, again, in cómplete steel,
That you, dead body, again, in full armor,
Revisits thus the glimpses of the moon,
Revisits the glimpses of the moon,
Making night hideous; and we fools of nature92
Making the night awful; and we foolish beings of nature92
With thoughts beyond the reaches of our souls?
With thoughts that go beyond the limits of our souls?
Say, why is this? wherefore? what should we do?
Say, why is this? Why is it happening? What should we do?
[Ghost beckons.]
[Ghost calls over.]
Hor. It beckons you to go away with it,
Hor. It invites you to leave with it,
As if it some impartment did desire
As if it had some important purpose.
To you alone.
For you only.
[Ghost beckons again.]
Ghost beckons again.
Mar. Look, with what courteous action
Mar. Look, with such courteous behavior
But do not go with it.
But don’t go along with it.
Hor.
Hor.
No, by no means.
No way.
Ham. It will not speak; then I will follow it.
Ham. It won't talk; then I'll track it down.
Hor. Do not, my lord.
Don't, my lord.
Ham.
Ham.
Why, what should be the fear?
Why, what's there to be afraid of?
And for my soul, what can it do to that,
And for my soul, what can it do about that,
Being a thing immortal as itself?
Being something immortal just like itself?
[Ghost beckons.]
Ghost beckons.
It waves me forth again;—I'll follow it.
It beckons me forward again;—I'll follow it.
Hor. What if it tempt you toward the flood, my lord,96
Hor. What if it lures you toward the water, my lord,96
Or to the dreadful summit of the cliff
Or to the terrifying peak of the cliff
And there assume some other horrible form,
And there take on some other awful shape,
And draw you into madness?
And drive you to madness?
[Ghost beckons.]
[Ghost calls.]
Ham.
Ham.
It waves me still.—
It still waves me.
Go on; I'll follow thee.
Go on; I'll follow you.
Ham.
Ham.
Hold off your hands.
Hold your hands back.
Hor. Be rul'd; you shall not go.
Just listen; you can't leave.
Ham.
Ham.
My fate cries out,
My destiny calls out,
And makes each petty artery in this body
And makes each small vein in this body
[Ghost beckons]
[Ghost summons]
Still am I call'd:—unhand me, gentlemen;
Still I am called:—let me go, gentlemen;
[Breaking from them.]
Breaking away from them.
By heaven, I'll make a ghost of him that lets me:—99
By heaven, I'll make a ghost out of anyone who allows me:—99
I say, away!—Go on; I'll follow thee.
I say, go away!—Keep going; I'll follow you.
[Exeunt Ghost and Hamlet, L.H., followed at a distance by Horatio and Marcellus.]
[i> Exit Spirit and Hamlet, L.H., followed at a distance by Horatio and Marcellus. ]
Scene 5.—A MORE REMOTE PART OF THE PLATFORM. Nighttime.
Re-enter Ghost and Hamlet (L.H.U.E.)
Re-enter Ghost and Hamlet (L.H.U.E.)
Ham. (R.) Whither wilt thou lead me? Speak; I'll go no further.
Ham. (R.) Where are you taking me? Speak; I won't go any farther.
Ghost. (L.) Mark me.
Ghost. (L.) Notice me.
Ham.
Ham.
I will.
Sure.
Ghost.
Ghost.
My hour is almost come,
My hour is almost here,
When I to sulphurous and tormenting flames
When I faced the sulfurous and tormenting flames
Must render up myself.
Must improve myself.
Ham.
Ham.
Alas, poor ghost!
Sorry, poor ghost!
Ghost. Pity me not, but lend thy serious hearing
Ghost. Don't feel sorry for me, but listen seriously.
To what I shall unfold.
To what I will reveal.
Ham.
Ham.
Speak; I am bound to hear.
Talk; I'm here to listen.
Ghost. So art thou to revenge, when thou shalt hear.
Ghost. You are here for revenge when you hear.
Ham. What?
Ham. Huh?
Ghost. I am thy father's spirit;
Ghost. I am your father’s spirit;
Doom'd for a certain term to walk the night,
Doomed to walk the night for a certain time,
Till the foul crimes done in my days of nature
Till the terrible crimes committed in my lifetime
Are burnt and purg'd away. But that I am forbid
Are burned and cleaned away. But I am forbidden
To tell the secrets of my prison-house,
To share the secrets of my prison,
I could a tale unfold, whose lightest word
I could share a story, where even the simplest word
Would harrow up thy soul;101 freeze thy young blood;
Would disturb your soul;101 freeze your young blood;
Make thy two eyes, like stars, start from their spheres;
Make your two eyes, like stars, shine out from their spots;
Thy knotted and combinèd locks to part,
Thy tangled and combined hair to separate,
To ears of flesh and blood.—List, list, O, list!—
To ears of flesh and blood.—Listen, listen, oh, listen!—
If thou didst ever thy dear father love,——
If you ever loved your dear father,——
Ham. O Heaven!
Ham. Oh my God!
Ghost. Revenge his foul and most unnatural murder.
Ghost. Avenge my terrible and unnatural murder.
Ham. Murder!
Ham. Murder!
Ghost. Murder most foul, as in the best it is;
Ghost. A terrible murder, just like the worst ones;
But this most foul, strange, and unnatural.
But this is the most disgusting, weird, and unnatural thing.
Ham. Haste me to know it, that I, with wings as swift
Ham. Hurry and tell me, so I can act quickly.
As meditation or the thoughts of love,
As meditation or thoughts of love,
May sweep to my revenge.
Might pursue my revenge.
Ghost.
Ghost.
I find thee apt;
You're quite capable;
And duller shouldst thou be than the fat weed
And you should be duller than the fat weed.
Wouldst thou not stir in this. Now, Hamlet, hear:
Would you not get involved in this? Now, Hamlet, listen:
A serpent stung me; so the whole ear of Denmark
A snake bit me; so the entire kingdom of Denmark
Rankly abus'd: but know, thou noble youth,
Rankly abus'd: but know, you noble young man,
The serpent that did sting thy father's life
The snake that took your father's life
Now wears his crown.
Now wears his crown.
Ham. O, my prophetic soul! my uncle!
Ham. Oh, my intuitive soul! My uncle!
Ghost. Ay, that incestuous, that adulterate beast,
Ghost. Yes, that corrupt, that unfaithful creature,
With witchcraft of his wit, with traitorous gifts,
With the cunning of his intellect and deceptive charms,
Won to his shameful lust
Succumbed to his shameful desire
The will of my most seeming virtuous queen:
The intent of my seemingly virtuous queen:
O, Hamlet, what a falling-off was there!
O, Hamlet, what a decline there was!
From me, whose love was of that dignity,
From me, whose love was so noble,
That it went hand in hand even with the vow
That it went hand in hand even with the promise.
I made to her in marriage; and to decline
I proposed marriage to her; and to refuse
To those of mine!
To my people!
But, soft! methinks I scent the morning air;
But wait! I think I smell the morning air;
Brief let me be.—Sleeping within mine orchard,
Brief let me be.—Sleeping in my orchard,
My custom always in the afternoon,
My routine is always in the afternoon,
With juice of cursed hebenon110 in a vial,
With the juice of cursed hebenon in a vial,
And in the porches of mine ears did pour
And in the porches of my ears did pour
The leperous distilment; whose effect
The leprous distillation; whose effect
Holds such an enmity with blood of man,
Holds such a grudge against the blood of mankind,
That, swift as quicksilver, it courses through
That, as fast as quicksilver, it moves through
The natural gates and alleys of the body;
The natural pathways and passages of the body;
So did it mine;
So did it mine;
Thus was I, sleeping, by a brother's hand
Thus I was sleeping, by my brother's hand
Of life, of crown, of queen, at once despatch'd:111
Of life, of crown, of queen, all at once sent away:111
Cut off even in the blossoms of my sin,
Cut off even in the early stages of my wrongdoing,
Unhousel'd, disappointed, unanel'd;112
Unhoused, disappointed, unfulfilled; __A_TAG_PLACEHOLDER_0__
No reckoning made, but sent to my account
No calculations done, but charged to my account.
With all my imperfections on my head.
With all my flaws weighing on me.
Ham. O, horrible! O, horrible! most horrible!
Ham. Oh, awful! Oh, awful! so awful!
Ghost. If thou hast nature in thee, bear it not;
Ghost. If you have any humanity in you, don't endure it;
Let not the royal bed of Denmark be
Let the royal bed of Denmark not be
But, howsoever thou pursu'st this act,
But no matter how you go about this act,
Taint not thy mind, nor let thy soul contrive
Taint not your mind, nor let your soul scheme
Against thy mother aught: leave her to Heaven,
Against your mother anything: leave her to Heaven,
And to those thorns that in her bosom lodge,
And to those thorns that are stuck in her heart,
To prick and sting her. Fare thee well at once!
To prick and sting her. Goodbye for now!
The glow-worm shows the matin to be near,
The glow-worm shows that morning is close,
Adieu, adieu, adieu! remember me.
Goodbye, goodbye, goodbye! Remember me.
[Exit, L.H.]
[Leave, L.H.]
Ham. Hold, hold, my heart;
Ham. Wait, wait, my heart;
And you, my sinews, grow not instant old,
And you, my muscles, don’t age too quickly,
But bear me stiffly up.—Remember thee!
But hold me up firmly.—Do you remember?
Ay, thou poor ghost, while memory holds a seat
Ay, you poor ghost, as long as memory has a place
In this distracted globe.115 Remember thee!
In this distracted world. __A_TAG_PLACEHOLDER_0__ Remember yourself!
Yea, from the table of my memory
Yea, from the table of my memory
And thy commandment all alone shall live
And your command will live on by itself.
Within the book and volume of my brain,
Within the book and volume of my mind,
Unmix'd with baser matter: yes, by heaven,
Unmixed with any lower quality: yes, by God,
I have sworn't.
I have sworn.
Hor. (Without.) My lord, my lord,——
My lord, my lord—
Mar. (Without.) Lord Hamlet,——
Mar. (Without.) Prince Hamlet,——
Hor. (Without.) Heaven secure him!
Heaven protect him!
Ham.
Ham.
So be it!
So be it!
Mar. (Without.) Illo, ho, ho, my lord!
Hey there, my lord!
Enter Horatio and Marcellus (L.H.U.E.)
Enter Horatio and Marcellus (L.H.U.E.)
Mar. (R.) How is't, my noble lord?
Mar. (R.) How are you, my noble lord?
Hor. (L.)
Hor. (L.)
What news, my lord?
What's the news, my lord?
Ham. (C.) O, wonderful!
Ham. (C.) Oh, amazing!
Hor.
Hor.
Good my lord, tell it.
Sure thing, my lord, share it.
Ham.
Ham.
No;
No;
You will reveal it.
You'll reveal it.
Hor. Not I, my lord, by heaven.
Hor. Not me, my lord, I swear.
Mar.
Mar.
Nor I, my lord.
Not I, my lord.
Ham. How say you, then; would heart of man once think it?
Ham. So, what do you think? Would anyone ever believe it?
But you'll be secret?—
But you'll keep it a secret?—
|
29
Hor. Hor. Mar. Mar. |
Ay, by heaven, my lord. Oh, my god, my lord. |
Ham. There's ne'er a villain, dwelling in all Denmark—
Ham. There's never a villain living anywhere in Denmark—
But he's an arrant knave.118
But he's a complete jerk. __A_TAG_PLACEHOLDER_0__
Hor. There needs no ghost, my lord, come from the grave
Hor. There doesn't need to be a ghost, my lord, coming from the grave.
To tell us this.
To let us know.
Ham. Why, right; you are in the right;
Ham. You're totally right; you are correct;
And so, without more circumstance at all,
And so, without any further details at all,
I hold it fit that we shake hands, and part:
I think it’s best that we shake hands and say goodbye:
You as your business and desire shall point you,
You and your ambitions will guide you.
For every man hath business and desire,
For every person has their own responsibilities and ambitions,
Such as it is;—and, for my own poor part,
Such as it is;—and, for my own sake,
Look you, I will go pray.
I'm going to pray now.
Hor. These are but wild and whirling words,119 my lord.
Hor. These are just chaotic and confused words, my lord.
Ham. I am sorry they offend you, heartily.
Ham. I'm really sorry they upset you.
Hor. There's no offence, my lord.
No offense, my lord.
Ham. Yes, by Saint Patrick,120 but there is, Horatio,
Ham. Yes, by Saint Patrick, 120 but there is, Horatio,
And much offence, too. Touching this vision here,
And a lot of offense, too. Regarding this vision here,
It is an honest ghost, that let me tell you:
It’s a real ghost, let me tell you:
For your desire to know what is between us,
For your curiosity about what's happening between us,
O'er-master it121 as you may. And now, good friends,
O'er-master it121 as you can. And now, good friends,
As you are friends, scholars, and soldiers,
As friends, students, and soldiers,
Give me one poor request.
Give me a bad request.
Hor.
Hor.
What is't, my lord?
What is it, my lord?
We will.
We will.
Ham. Never make known what you have seen to-night.
Ham. Don't tell anyone what you saw tonight.
|
Hor. Hor. Mar. Mar. |
My lord, we will not. We won’t, my lord. |
Ham.
Ham.
Nay, but swear't.
No, but I swear.
Hor.
Horace
Propose the oath, my lord.
Suggest the oath, my lord.
Ham. Never to speak of this that you have seen.
Ham. Don't ever mention what you've seen here.
Swear by my sword.
I swear on my sword.
[Horatio and Marcellus place each their right hand on Hamlet's sword.]
[i][Horatio and Marcellus each place their right hand on Hamlet's sword.]
Ghost. (Beneath.) Swear.
Ghost. (Beneath.) I swear.
Hor. O day and night, but this is wondrous strange!
Hor. Oh, day and night, this is really strange!
There are more things in heaven and earth, Horatio,
There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy.
Than are dreamt of in your philosophy.
But come;—
But come on;—
Here, as before, never, so help you mercy,
Here, just like before, never, I swear to you,
How strange or odd soe'er I bear myself,
How strange or odd I might seem,
As I, perchance, hereafter shall think meet
As I might, perhaps, think it appropriate later
To put an antick disposition123 on,—
To put on a quirky attitude, —
That you, at such times seeing me, never shall,
That you, when you see me at those times, will never,
With arms encumber'd thus,124 or this head-shake,
With my arms full like this, 124 or this shake of the head,
Or by pronouncing of some doubtful phrase,
Or by saying something unclear,
As, Well, we know; or, We could, an if we would; or, If
As, Well, we know; or, We could, and if we wanted; or, If
we list to speak;—or, There be, an if they might;—
we are ready to talk;—or, There are, if they could;—
Or such ambiguous giving out, to note
Or such unclear communication, to notice
That you know aught of me:—This do you swear,
That you know anything about me:—Do you swear this,
So grace and mercy at your most need help you!
So may grace and mercy help you in your time of need!
[Horatio and Marcellus again place their hands on Hamlet's sword.]
[Horatio and Marcellus again put their hands on Hamlet's sword.]
Ghost. (Beneath.) Swear.
Ghost. (Beneath.) I swear.
Ham. Rest, rest, perturbed spirit! So gentlemen,
Ham. Calm down, restless spirit! So, gentlemen,
With all my love I do commend me to you:
With all my love, I send my best to you:
And what so poor a man as Hamlet is
And what a poor man Hamlet is!
May do, to express his love and friending to you,
May do, to show his love and friendship to you,
Heaven willing, shall not lack.125 Let us go in together;
Heaven willing, we won't lack.125 Let's go in together;
[Crosses to L.]
[Walks over to L.]
And still your fingers on your lips, I pray.
And still your fingers on your lips, I pray.
The time is out of joint;—O cursèd spite,
The time is messed up;—Oh, cursed spite,
That ever I was born to set it right!
That I was ever born to fix it!
Nay, come, let's go together.
No, come on, let's go together.
[Exeunt L.H.]
[Exit L.H.]
END OF ACT FIRST.
Notes
Act I
Act 1
I.1 me:] i.e., me who am already on the watch, and have a right to demand the watch-word.
I.1 me:] meaning, me who is already on alert, and has the right to ask for the alert word.
I.2 unfold] Announce, make known.
__A_TAG_PLACEHOLDER_0__ unfold] Announce, share.
I.4 The rivals of my watch,] Rivals, for partners or associates.
I.4 The competitors of my watch,] Competitors, for partners or associates.
I.5 And liegemen to the Dane.] i.e., owing allegiance to Denmark.
I.5 And vassals to the Dane.] i.e., loyal to Denmark.
I.7 To watch the minutes of this night;] This seems to have been an expression common in Shakespeare's time.
I.7 To watch the minutes of this night;] This appears to have been a phrase commonly used in Shakespeare's era.
I.8 Approve our eyes,] To approve, in Shakespeare's age, signified to make good or establish.
I.8 Approve our eyes,] To approve, in Shakespeare's time, meant to confirm or establish.
I.9 What we have seen.] We must here supply "with," or "by relating" before "what we have seen."
I.9 What we have seen.] We need to add "with" or "by relating" before "what we have seen."
I.10 It harrows me with fear and wonder.] i.e., it confounds and overwhelms me.
I.10 It fills me with fear and amazement.] i.e., it confuses and overwhelms me.
I.11 Usurp'st this time of night,] i.e., abuses, uses against right, and the order of things.
I.11 You’re taking advantage of this time of night, i.e. abusing it, going against what’s right, and the natural order of things.
I.12 I might not this believe, &c.] I could not: it had not been permitted me, &c., without the full and perfect evidence, &c.
I.12 I might not believe this, etc. I couldn't: it wasn't allowed for me, etc., without complete and undeniable evidence, etc.
I.13 Jump at this dead hour,] Jump and just were synonymous in Shakespeare's time.
I.13 Jump at this quiet hour,] Jump and just meant the same thing in Shakespeare's time.
I.14 In what particular thought to work,] In what particular course to set my thoughts at work: in what particular train to direct the mind and exercise it in conjecture.
I.14 How exactly should I start thinking, in what specific direction should I guide my thoughts: in what particular way should I direct my mind and engage it in speculation?
I.15 Gross and scope] Upon the whole, and in a general view.
I.15 Gross and scope] Overall, and in a broad sense.
I.16 Bodes some strange eruption to our state,] i.e., some political distemper, which will break out in dangerous consequences.
I.16 Bodes some strange eruption to our state,] i.e., some political issues that will lead to serious consequences.
I.17 Palmy state] Outspread, flourishing. Palm branches were the emblem of victory.
I.17 Palmy state] Widespread, thriving. Palm branches were the symbol of triumph.
Uphoarded in thy life
Accumulated in your life
Extorted treasure in the womb of earth,]
Stolen treasure from deep within the earth,
So in Decker's Knight's Conjuring, &c. "If any of them had bound the spirit of gold by any charmes in cares, or in iron fetters, under the ground, they should, for their own soule's quiet (which, questionless, else would whine up and down,) not for the good of their children, release it."
So in Decker's Knight's Conjuring, etc. "If any of them had trapped the spirit of gold with any charms in cares, or in iron chains, under the ground, they should, for their own soul's peace (which, undoubtedly, would otherwise be restless), release it, not for the benefit of their children."
And then it started like a guilty thing
And then it started like something I felt guilty about
Upon a fearful summons.]
After a terrifying call.
Apparitions were supposed to fly from the crowing of the cock, because it indicated the approach of day.
Apparitions were believed to vanish with the sound of the rooster crowing, as it signaled the arrival of daybreak.
I.21 Lofty] High and loud.
High and loud.
I.22 The extravagant and erring spirit] Extravagant is, got out of his bounds. Erring is here used in the sense of wandering.
I.22 The flashy and wandering spirit] Flashy has gone beyond its limits. Wandering is used here to mean straying.
I.23 Laertes is unknown in the original story, being an introduction of Shakespeare's.
I.23 Laertes isn't mentioned in the original story; he's a character Shakespeare added.
I.24 Green;] Fresh.
__A_TAG_PLACEHOLDER_0__ Green;] Fresh.
I.25 Wisest sorrow] Sober grief, passion discreetly reined.
I.25 Wisest sorrow] Serious sadness, emotions kept in check.
I.26 With a defeated joy,] i.e., with joy baffled; with joy interrupted by grief.
I.26 With a joy that feels defeated, meaning, with joy hindered; with joy disrupted by sorrow.
I.27 Barr'd] Excluded—acted without the concurrence of.
I.27 Barr'd] Excluded—did something without agreement from.
I.28 Your leave and favour] The favour of your leave granted, the kind permission. Two substantives with a copulative being here, as is the frequent practice of our author, used for an adjective and substantive: an adjective sense is given to a substantive.
I.28 Your leave and favor] The permission you've granted is appreciated. Here, two nouns are connected by a copulative, which is a common style used by our author, effectively turning a noun into something with an adjectival meaning.
I.29 Upon his will I sealed my hard consent:] At or upon his earnest and importunate suit, I gave my full and final, though hardly obtained and reluctant, consent.
I.29 Upon his request, I agreed reluctantly: At his persistent and pressing appeal, I gave my complete and final consent, though it was hard-won and given with hesitation.
Take thy fair hour! time be thine;
Take your fair hour! Time is yours;
And thy best graces spend it at thy will!]
And your best qualities use them as you wish!
Catch the auspicious moment! be time thine own! and may the exercise of thy fairest virtue fill up those hours, that are wholly at your command!
Seize the right moment! Take charge of your time! And may the use of your finest qualities fill those hours that are completely yours!
I.31 A little more than kin, and less than kind.] Dr. Johnson says that kind is the Teutonic word for child. Hamlet, therefore, answers to the titles of cousin and son, which the king had given him, that he was somewhat more than cousin, and less than son. Steevens remarks, that it seems to have been another proverbial phrase: "The nearer we are in blood, the further we must be from love; the greater the kindred is, the less the kindness must be." Kin is still used in the Midland Counties for cousin, and kind signifies nature. Hamlet may, therefore, mean that the relationship between them had become unnatural.
I.31 A little more than family, and less than friendly. Dr. Johnson notes that kind is the Teutonic word for child. So, Hamlet is saying, in response to the titles of cousin and son that the king gave him, that he is a bit more than cousin and a bit less than son. Steevens points out that this seems to be another proverb: "The closer we are by blood, the farther we are from love; the greater the kinship is, the less the affection should be." Kin is still used in the Midland Counties to mean cousin, and kind refers to nature. Therefore, Hamlet might mean that their relationship had become unnatural.
I.32 I am too much i'the sun.] Meaning, probably, his being sent for from his studies to be exposed at his uncle's marriage as his chiefest courtier, and being thereby placed too much in the radiance of the king's presence; or, perhaps, an allusion to the proverb, "Out of Heaven's blessing, into the warm sun:" but it is not unlikely that a quibble is meant between son and sun.
I.32 I'm too much in the spotlight. Meaning, probably, that he's being called from his studies to be showcased at his uncle's wedding as his top attendant, and as a result, he's being placed too much in the light of the king's presence; or, maybe, it's a reference to the saying, "Out of Heaven's blessing, into the warm sun:" but it’s also possible that there's a play on words between son and sun.
I.33 Nighted colour] Black—night-like.
Black—like the night.
I.34 Vailed lids] Cast down.
__A_TAG_PLACEHOLDER_0__ Veiled eyes Cast down.
I.35 Which passeth show;] i.e., "external manners of lament."
I.35 Which surpasses appearance;] i.e., "outward expressions of grief."
I.36 Trappings] Trappings are "furnishings."
__A_TAG_PLACEHOLDER_0__ Trappings are "decorations."
I.37 That father lost, lost his;] "That lost father (of your father, i.e., your grandfather), or father so lost, lost his."
I.37 That father lost, lost his;] "That lost father (of your father, i.e., your grandfather), or father so lost, lost his."
I.38 Do obsequious sorrow:] Follow with becoming and ceremonious observance the memory of the deceased.
I.38 Show respectful sadness: Remember the deceased with appropriate and formal tribute.
I.39 But to perséver] This word was anciently accented on the second syllable.
I.39 But to persevere] This word was once stressed on the second syllable.
I.40 Obstinate condolement,] Ceaseless and unremitted expression of grief.
I.40 Stubborn sadness,] Constant and unending display of sorrow.
I.41 Incorrect to Heaven.] Contumacious towards Heaven.
I.41 Wrong to Heaven.] Defiant towards Heaven.
I.42 Unprevailing] Fruitless, unprofitable.
__A_TAG_PLACEHOLDER_0__ Unprevailing] Useless, not worth it.
I.43 Sits smiling to my heart:] To is at: gladdens my heart.
I.43 Brings joy to my heart:] It is there: brightens my heart.
I.44 In grace whereof,] i.e., respectful regard or honour of which.
I.44 In recognition of this,] i.e., respectful acknowledgement or honor of which.
I.45 No jocund health, that Denmark drinks to-day,] Dr. Johnson remarks, that the king's intemperance is very strongly impressed; everything that happens to him gives him occasion to drink. The Danes were supposed to be hard drinkers.
I.45 No cheerful health that Denmark celebrates today, Dr. Johnson notes that the king's excessive drinking is quite evident; everything that happens to him leads him to drink. The Danes were thought to be heavy drinkers.
I.46 Resolve itself] To resolve is an old word signifying to dissolve.
I.46 Resolve itself] To resolve is an outdated term that means to dissolve.
I.48 The uses of this world!] i.e., the habitudes and usages of life.
I.48 The ways of this world!] i.e., the habits and practices of life.
I.49 Merely.] Wholly—entirely.
__A_TAG_PLACEHOLDER_0__ Just.] Completely—totally.
I.50 Hyperion to a satyr:] An allusion to the exquisite beauty of Apollo, compared with the deformity of a satyr; that satyr, perhaps, being Pan, the brother of Apollo. Our great poet is here guilty of a false quantity, by calling Hypĕrīon, Hypērĭon, a mistake not unusual among our English poets.
I.50 Hyperion to a satyr:] This refers to the stunning beauty of Apollo, in contrast to the ugliness of a satyr; that satyr might be Pan, Apollo's brother. Our esteemed poet makes a mistake here by pronouncing Hypĕrīon as Hypērĭon, which is a common error among English poets.
I.52 I'll change that name with you.] i.e., do not call yourself my servant, you are my friend; so I shall call you, and so I would have you call me.
I.52 I'll change that name with you.] i.e., don’t call yourself my servant, you are my friend; that’s what I’ll call you, and that’s how I want you to call me.
I.53 In faith.] Faithfully, in pure and simple verity.
I.53 In faith.] Honestly, in pure and straightforward truth.
I.54 But what make you] What is your object? What are you doing?
I.54 But what makes you] What is your goal? What are you up to?
I.55 What, in faith, make you from Wittenberg?] In Shakespeare's time there was a university at Wittenberg; but as it was not founded till 1502, it consequently did not exist in the time to which this play refers.
I.55 What, honestly, brings you from Wittenberg?] In Shakespeare's time, there was a university in Wittenberg; however, since it wasn't established until 1502, it didn't exist during the period this play is set in.
I.56 My dearest foe] i.e., my direst or most important foe. This epithet was commonly used to denote the strongest and liveliest interest in any thing or person, for or against.
I.56 My dearest enemy] i.e., my biggest or most significant enemy. This term was often used to express the strongest and most intense interest in anything or anyone, whether for or against.
I.57 Goodly king.] i.e., a good king.
__A_TAG_PLACEHOLDER_0__ Good king. i.e., a good king.
Season your admiration for a while
Take a moment to appreciate
with an attent ear;]
with an attentive ear;
i.e., suppress your astonishment for a short time, that you may be the better able to give your attention to what we will relate.
i.e., hold back your surprise for a moment so you can better focus on what we’re about to share.
I.59 In the dead waste and middle of the night,] i.e., in the dark and desolate vast, or vacant space and middle of the night. It was supposed that spirits had permission to range the earth by night alone.
I.59 In the dead of night, i.e. in the dark and empty wilderness. It was believed that spirits had the freedom to roam the earth at night.
I.60 With the act of fear,] i.e., by the influence or power of fear.
I.60 With the feeling of fear,] i.e., through the influence or power of fear.
I.61 Address] i.e., make ready.
__A_TAG_PLACEHOLDER_0__ Address] i.e., get ready.
I.63 He wore his beaver up.] That part of the helmet which may be lifted up, to take breath the more freely.
I.63 He wore his beaver up. That part of the helmet that can be lifted up to breathe more easily.
I.64 Tenable] i.e., strictly maintained.
__A_TAG_PLACEHOLDER_0__ Tenable] i.e., kept in check.
I.65 Benefit,] Favourable means.
__A_TAG_PLACEHOLDER_0__ Benefit,] Favorable means.
I.66 Trifling of his favour,] Gay and thoughtless intimation.
I.66 Taking his favor lightly, A casual and careless suggestion.
I.67 Pérfume and suppliance of a minute.] i.e., an amusement to fill up a vacant moment, and render it agreeable.
I.67 A fragrance and a little indulgence.] i.e., a pleasant distraction to make a free moment enjoyable.
I.68 Keep within the rear of your affection,] Front not the peril; withdraw or check every warm emotion: advance not so far as your affection would lead you.]
I.68 Stay behind your feelings, don't take any risks; pull back or hold back every passionate emotion: don't go further than what your heart would guide you.
I.70 Puff'd and reckless libertine.] Bloated and swollen, the effect of excess; and heedless and indifferent to consequences.
I.70 Puffed up and careless libertine.] Inflated and in excess, the result of overindulgence; and unconcerned and apathetic to the consequences.
I.71 Recks not his own read.] i.e., heeds not his own lessons or counsel.
I.71 Doesn't pay attention to his own advice. i.e. ignores his own lessons or guidance.
I.72 Shoulder of your sail,] A common sea phrase.
I.72 Shoulder of your sail,] A common nautical term.
I.73 Look thou charácter.] i.e., a word often used by Shakespeare to signify to write, strongly infix; the accent is on the second syllable.
I.73 Check out this character.] i.e., a term frequently used by Shakespeare to mean to write, to strongly imprint; the emphasis is on the second syllable.
I.74 Unproportion'd thought] Irregular, disorderly thought.
Irregular, disorderly thought.
I.75 Each man's censure,] Sentiment, opinion.
__A_TAG_PLACEHOLDER_0__ Each person's criticism, Sentiment, opinion.
I.76 i.e., chiefly in that.
__A_TAG_PLACEHOLDER_0__ that is, mainly in that.
I.77 Husbandry] i.e., thrift, economical prudence.
__A_TAG_PLACEHOLDER_0__ Husbandry] i.e., savings, smart spending.
I.78 Season this in thee!] i.e., infix it in such a manner as that it may never wear out.
I.78 Make this part of you!] i.e., embed it in a way that it will last forever.
I.79 Yourself shall keep the key of it.] Thence it shall not be dismissed, till you think it needless to retain it.
I.79 You will hold the key to it.] It shall not be let go until you decide it's unnecessary to keep it.
I.80 Given private time to you;] Spent his time in private visits to you.
I.80 Given private time to you;] He spent his time visiting you privately.
I.81 As so 'tis put on me,] Suggested to, impressed on me.
I.81 As it's been suggested to me, Impressed upon me.
I.82 Is between] i.e., what has passed—what intercourse had.
I.82 Is between] i.e., what has happened—what interaction took place.
Green girl,
Eco-friendly girl,
Unsifted]
Unfiltered
i.e., inexperienced girl. Unsifted means one who has not nicely canvassed and examined the peril of her situation.
i.e., inexperienced girl. Unsifted means someone who has not carefully canvassed and examined the risks of her situation.
I.84 Woodcocks.] Witless things.
__A_TAG_PLACEHOLDER_0__ Woodcocks.] Foolish things.
I.85 Slander any leisure moment,] i.e., I would not have you so disgrace your most idle moments, as not to find better employment for them than lord Hamlet's conversation.
I.85 Don't waste any free time, meaning, I wouldn't want you to ruin your most relaxed moments by choosing to spend them on lord Hamlet's talk.
I.86 An eager air.] Eager here means sharp, from aigre, French.
I.86 An enthusiastic vibe.] Enthusiastic here means keen, from aigre, French.
I.88 Takes his rouse,] Rouse means drinking bout, carousal.
I.88 Starts his drinking session,] Rouse means drinking bout, carousal.
I.89 Questionable shape,] To question, in our author's time, signified to converse. Questionable, therefore, means capable of being conversed with.
I.89 Questionable shape,] Back in our author's time, to question meant to converse. So, questionable means able to be talked to.
I.90 Hearsed in death,] Deposited with the accustomed funeral rites.
I.90 Carried away in death,] Laid to rest with the traditional funeral customs.
I.91 Cerements;] Those precautions usually adopted in preparing dead bodies for sepulture.
I.91 Burials;] These are the steps usually taken when getting dead bodies ready for burial.
I.92 Fools of nature] i.e., making sport for nature.
__A_TAG_PLACEHOLDER_0__ Nature's fools meaning, entertaining nature.
I.94 Removèd ground:] Removed for remote.
__A_TAG_PLACEHOLDER_0__ Removed ground:] Removed for remote.
I.96 What if it tempt you toward the flood, &c.] Malignant spirits were supposed to entice their victims into places of gloom and peril, and exciting in them the deepest terror.
I.96 What if it tempts you toward the flood, &c.] Evil spirits were believed to lure their victims into dark and dangerous places, stirring up their deepest fears.
I.97 Beetles o'er his base into the sea,] i.e., projects darkly over the sea.
I.97 Beetles over his base into the sea,] i.e., casts a dark shadow over the sea.
I.98 Némean lion's nerve.] Shakespeare, and nearly all the poets of his time, disregarded the quantity of Latin names. The poet has here placed the accent on the first syllable, instead of the second.
I.98 Strength of the Némean lion.] Shakespeare, along with most poets of his era, ignored the syllable count of Latin names. The poet has chosen to emphasize the first syllable rather than the second.
I.99 That lets me:] To let, in the sense in which it is here used, means to hinder—to obstruct—to oppose. The word is derived from the Saxon.
I.99 That lets me:] To let, in this context, means to prevent—to block—to resist. The word comes from Saxon.
I.100 To fast in fires,] Chaucer has a similar passage with regard to eternal punishment—"And moreover the misery of Hell shall be in default of meat and drink."
I.100 To fast in fires,] Chaucer has a similar passage about eternal punishment—"And besides, the suffering of Hell will be from the lack of food and drink."
I.102 Hair to stand on end,] A common image of that day. "Standing as frighted with erected haire."
I.102 Hair standing on end,] A common image of that day. "Standing as if terrified with hair standing up."
I.103 The fretful porcupine:] This animal being considered irascible and timid.
I.103 The anxious porcupine:] This animal is seen as easily annoyed and fearful.
I.104 Eternal blazon] i.e., publication or divulgation of things eternal.
I.104 Everlasting display] i.e., the release or sharing of timeless truths.
I.105 Rots itself in ease on Lethe wharf,] i.e., in indolence and sluggishness, by its torpid habits contributes to that morbid state of its juices which may figuratively be denominated rottenness.
I.105 Rots itself in comfort on Lethe wharf, i.e., in laziness and sluggishness, by its lethargic habits adds to that unhealthy state of its juices which can be called rottenness.
I.106 Orchard,] Garden.
__A_TAG_PLACEHOLDER_0__ Orchard,] Garden.
I.107 Forged process] i.e., false report of proceedings.
I.107 Forged process i.e., inaccurate account of events.
I.108 Decline upon a wretch.] Stoop with degradation to.
I.108 Fall upon someone miserable. Stoop down in humiliation to.
I.109 Secure] Unguarded.
__A_TAG_PLACEHOLDER_0__ Secure] Unprotected.
I.110 Hebenon] Hebenon is described by Nares in his Glossary, as the juice of ebony, supposed to be a deadly poison.
I.110 Hebenon] Hebenon is referred to by Nares in his Glossary as the juice of ebony, thought to be a lethal poison.
I.111 Despatch'd:] Despoiled—bereft.
__A_TAG_PLACEHOLDER_0__ Sent:] Plundered—deprived.
I.112 Unhousel'd, disappointed, unanel'd;] To housel is to minister the sacrament to one lying on his death bed. Disappointed is the same as unappointed, which here means unprepared. Unanel'd is without extreme unction.
I.112 Not receiving the sacrament, feeling let down, lacking last rites; To receive the sacrament is to have it administered to someone on their deathbed. Let down is the same as unappointed, meaning unprepared here. Lacking last rites means without the sacrament of the sick.
I.113 Luxury] Lasciviousness.
__A_TAG_PLACEHOLDER_0__ Luxury] Excessive indulgence.
I.114 Pale his uneffectual fire:] i.e., not seen by the light of day; or it may mean, shining without heat.
I.114 Dim is his weak flame:] that is to say, not visible in daylight; or it might mean, glowing without warmth.
I.115 In this distracted globe.] i.e., his head distracted with thought.
I.115 In this distracted world.] i.e., his mind preoccupied with thought.
I.116 Pressures past,] Impressions heretofore made.
__A_TAG_PLACEHOLDER_0__ Past pressures, impressions made so far.
I.117 Come, bird, come.] This is the call which falconers used to their hawk in the air when they would have him come down to them.
I.117 Come, bird, come. This is what falconers would call to their hawk in the air when they wanted it to come back down to them.
I.118 There's ne'er a villain dwelling in all Denmark— But he's an arrant knave.] Hamlet probably begins these words in the ardour of confidence and sincerity; but suddenly alarmed at the magnitude of the disclosure he was going to make, and considering that, not his friend Horatio only, but another person was present, he breaks off suddenly:—"There's ne'er a villain in all Denmark that can match (perhaps he would have said) my uncle in villainy; but recollecting the danger of such a declaration, he pauses for a moment, and then abruptly concludes:—"but he's an arrant knave."
I.118 There's never a villain living in all of Denmark— But he's an absolute coward.] Hamlet probably starts these words filled with confidence and sincerity; but suddenly, concerned about the gravity of the revelation he was about to make, and realizing that not just his friend Horatio, but someone else was there too, he abruptly stops: —"There's never a villain in all of Denmark who can compare (maybe he would have said) to my uncle in wickedness; but remembering the risk of such a statement, he hesitates for a moment and then quickly wraps it up: —"but he's an absolute coward."
I.119 Whirling words,] Random words thrown out with no specific aim.
I.119 Spinning words, Random words tossed out without a clear purpose.
I.120 By Saint Patrick,] At this time all the whole northern world had their learning from Ireland; to which place it had retired, and there flourished under the auspices of this Saint.
I.120 By Saint Patrick,] At this time, the entire northern world gained its knowledge from Ireland, which had become a refuge and thrived under the guidance of this Saint.
I.122 Give it welcome.] Receive it courteously, as you would a stranger when introduced.
I.122 Give it a warm welcome.] Accept it politely, like you would when meeting a new person.
I.123 Antick disposition] i.e., strange, foreign to my nature, a disposition which Hamlet assumes as a protection against the danger which he apprehends from his uncle, and as a cloak for the concealment of his own meditated designs.
I.123 Antick disposition], i.e., odd, unfamiliar to me, a behavior that Hamlet takes on to shield himself from the threat he fears from his uncle, and as a cover for hiding his own planned actions.
I.124 Arms encumber'd thus,] i.e., folded.
__A_TAG_PLACEHOLDER_0__ Arms folded like this,
32
32
ACT II.
Scene 1.—A ROOM IN POLONIUS'S HOUSE.
Enter Polonius1 (L.H.), meeting Ophelia. (R.H.)
Enter Polonius__A_TAG_PLACEHOLDER_0__ (L.H.), meeting Ophelia. (R.H.)
Pol. How now, Ophelia! What's the matter?
Hey, Ophelia! What's up?
Oph. O, my lord, my lord, I have been so affrighted!
Oph. Oh, my lord, my lord, I have been so scared!
Pol. With what, in the name of Heaven?
With what, for goodness' sake?
Oph. My lord, as I was sewing in my closet,
Oph. My lord, while I was sewing in my room,
Lord Hamlet, with his doublet all unbrac'd;
Lord Hamlet, with his jacket all undone;
Pale as his shirt; his knees knocking each other,
Pale as his shirt; his knees knocking together,
And with a look so piteous in purport,
And with a look so sad in meaning,
He comes before me.
He approaches me.
Pol. Mad for thy love?
Pol. Crazy for your love?
Oph.
Oph.
My lord, I do not know;
I don't know, my lord;
But, truly, I do fear it.
But honestly, I’m really scared of it.
Pol.
Pol.
What said he?
What did he say?
Oph. He took me by the wrist, and held me hard;
Oph. He grabbed my wrist and held it tightly;
Then goes he to the length of all his arm;
Then he reaches the full length of his arm;
And, with his other hand thus o'er his brow,
And, with his other hand like this over his forehead,
He falls to such perusal of my face
He looks so intently at my face
As he would draw it. Long staid he so;
As he would draw it. He stayed like that for a long time;
At last,—a little shaking of mine arm,
At last, a little shake of my arm,
And thrice his head thus waving up and down,
And three times his head waved up and down,
He rais'd a sigh so piteous and profound,
He let out a sigh that was so sad and deep,
And end his being: That done, he lets me go:
And end his existence: Once that's done, he lets me go:
And, with his head over his shoulder turn'd,
And, with his head turned over his shoulder,
He seem'd to find his way without his eyes;
He seemed to find his way without seeing.
For out o'doors he went without their helps,
For the outdoors, he went without their help,
And, to the last, bended their light on me.
And, in the end, directed their light on me.
Pol. Come, go with me; I will go seek the king.
Pol. Come on, let's go. I’m going to look for the king.
What, have you given him any hard words of late?
What, have you said anything harsh to him recently?
Oph. No, my good lord; but, as you did command,
Oph. No, my good lord; but, as you instructed,
I did repel his letters, and denied
I did reject his letters and denied
His access to me.
His access to me.
Pol.
Pol.
That hath made him mad.
That has driven him crazy.
Come, go we to the king:
Come, let’s go to the king:
This must be known; which, being kept close, might move
This should be known; which, if kept secret, could cause
Come.
Join us.
[Exeunt L.H.]
[Exit L.H.]
Scene 2.—A ROOM IN THE CASTLE.
Enter King, Queen, Rosencrantz, Guildenstern, and Attendants (R.H.)
Enter King, Queen, Rosencrantz, Guildenstern, and Attendants (R.H.)
King. (C.) Welcome, dear Rosencrantz and Guildenstern!
King. (C.) Welcome, dear Rosencrantz and Guildenstern!
Moreover that we much did long to see you,
Moreover, we really wanted to see you,
The need we have to use you did provoke
The need we have to use you did provoke
Our hasty sending. Something have you heard
Our quick sending. Have you heard something?
Of Hamlet's transformation. What it should be,
Of Hamlet's transformation. What it should be,
More than his father's death, that thus hath put him
More than his father's death, which has put him
34I cannot dream of: I entreat you both,
34I can’t imagine: I ask you both,
That you vouchsafe your rest6 here in our court
That you kindly take your rest here in our court
Some little time: so by your companies
Some time later: so by your groups
To draw him on to pleasures, and to gather,
To entice him into enjoying pleasures and to collect,
Whether aught, to us unknown, afflicts him thus,
Whether something we don’t know is bothering him like this,
That, open'd, lies within our remedy.
That, opened, is within our reach for a solution.
Queen. (R.C.) Good gentlemen, he hath much talk'd of you;
Queen. (R.C.) Good gentlemen, he has talked a lot about you;
And sure I am two men there are not living
And I'm sure there are two men who aren't alive.
To whom he more adheres. If it will please you
To whom he is more loyal. If that works for you
So to expend your time with us a while,
So, to spend some time with us for a bit,
Your visitation shall receive such thanks
Your visit will be greatly appreciated.
As fits a king's remembrance.
As befits a king's memory.
Ros. (R.)
Ros. (R.)
Both your majesties
Your Majesties
Put your dread pleasures more into command
Put your guilty pleasures more under control.
Than to entreaty.
Than to ask.
Guil. (R.)
Guil. (R.)
But we both obey,
But we both comply,
To lay our service freely at your feet.
To offer our service to you freely.
King. Thanks, Rosencrantz and gentle Guildenstern.
King. Thanks, Rosencrantz and kind Guildenstern.
Queen. I do beseech you instantly to visit
Queen. I urge you to come visit right away.
My too much changèd son. Go, some of you,
My greatly changed son. Go, some of you,
And bring these gentlemen where Hamlet is.
And take these guys to where Hamlet is.
[Exeunt Rosencrantz, Guildenstern, and Attendants, R.H.]
[Exit Rosencrantz, Guildenstern, and Attendants, R.H.]
Enter Polonius (L.H.)
Enter Polonius (L.H.)
Pol. Now do I think (or else this brain of mine
Pol. Now I think (or maybe it’s just my mind
As it hath us'd to do), that I have found
As it has been known to do), that I have found
The very cause of Hamlet's lunacy.
The real reason behind Hamlet's madness.
King. (C.) O, speak of that; that do I long to hear.
King. (C.) Oh, talk about that; I really want to hear it.
What majesty should be, what duty is,
What greatness should be, what responsibility is,
Why day is day, night night, and time is time,
Why day is day, night is night, and time is time,
Were nothing but to waste night, day, and time;
Were nothing but to waste night, day, and time;
Therefore, since brevity is the soul of wit,
Therefore, since being concise is the essence of intelligence,
And tediousness the limbs and outward flourishes,—
And the weariness of the limbs and external gestures,—
I will be brief:—Your noble son is mad:
I’ll keep it short: Your noble son is crazy:
Mad call I it; for, to define true madness,
Mad call I it; for, to define true madness,
What is't, but to be nothing else but mad?
What is it, but to be nothing other than crazy?
But let that go.
But forget that.
Queen. (R.C.) More matter, with less art.
Queen. (R.C.) More substance, with less style.
Pol. Madam, I swear I use no art at all.
Pol. Ma'am, I promise I’m not using any tricks at all.
That he is mad, 'tis true: 'tis true 'tis pity;
That he is crazy, it's true: it's true, it's a shame;
And pity 'tis, 'tis true: a foolish figure;
And it's a shame, it's true: a foolish sight;
But farewell it, for I will use no art.
But goodbye to it, because I won't use any tricks.
Mad let us grant him, then: and now remains
Mad, let's agree on that: and now it remains
That we find out the cause of this effect,
That we discover the reason for this effect,
Or, rather say, the cause of this defect,
Or, more accurately, the reason for this flaw,
For this effect defective comes by cause:
For this effect, a defect arises from a cause:
Thus it remains, and the remainder thus,
Thus it remains, and the rest remains the same,
Perpend.11
Consider. __A_TAG_PLACEHOLDER_0__
I have a daughter, have, while she is mine,
I have a daughter, and while she is mine,
Who, in her duty and obedience, mark,
Who, in her duty and obedience, notice,
Hath given me this: Now gather, and surmise.
Has given me this: Now gather and guess.
[Reads] To the celestial, and my soul's idol, the most beautified Ophelia,—12
[Reads] To the heavenly one, and the love of my soul, the most beautiful Ophelia,—12
That's an ill phrase, a vile phrase, beautified is a vile phrase: but you shall hear. Thus:
That's a bad phrase, a terrible phrase, beautified is a terrible phrase: but you'll hear. So:
Queen. Came this from Hamlet to her?
Queen. Did this come from Hamlet to her?
Pol. Good madam, stay awhile; I will be faithful.—
Pol. Good lady, please wait a moment; I will be dependable.
[Reads.]
[Reading.]
Doubt thou the stars are fire;
Doubt that the stars are fire;
Doubt thou the sun doth move;
Doubt that the sun moves;
Doubt truth to be a liar;
Doubt that truth is a liar;
But never doubt, I love.
But never doubt, I love you.
Thine evermore, most dear lady, whilst this machine is to him,17 Hamlet.
Yours forever, my dearest lady, as long as this machine exists for him,17 Hamlet.
This, in obedience, hath my daughter shown me:
This, in obedience, my daughter has shown me:
And more importantly, __A_TAG_PLACEHOLDER_0__ has his requests, __A_TAG_PLACEHOLDER_1__
As they fell out by time, by means, and place,
As they separated over time, by method, and location,
All given to my ear.
All given to me.
King.
Ruler.
But how hath she
But how has she
Receiv'd his love?
Got his love?
Pol. What do you think of me?
Pol. What do you think of me?
King. As of a man faithful and honourable.
King. As of a man who is loyal and honorable.
Pol. I would fain prove so. But what might you think,
Pol. I’d really like to show that. But what do you think,
When I had seen this hot love on the wing
When I had witnessed this intense romance in progress
(As I perceived it, I must tell you that,
(As I saw it, I have to tell you that,
Before my daughter told me), what might you,
Before my daughter told me, what could you,
Or my dear majesty your queen here, think,
Or my dear majesty, your queen here, think,
Or given my heart a winking, mute and dumb;21
Or given my heart a playful wink, silent and speechless;21
And my young mistress thus did I bespeak:
And I spoke to my young mistress like this:
Lord Hamlet is a prince, out of thy sphere;
Prince Hamlet is beyond your level;
This must not be: and then I precepts gave her,
This must not be: and then I gave her some guidelines,
That she should lock herself from his resort,
That she should keep herself away from his place,
Admit no messengers, receive no tokens.
Admit no messengers, accept no gifts.
And he, repuls'd (a short tale to make),
And he, rejected (a brief story to tell),
Fell into sadness; thence into a weakness;
Fell into sadness; then into a weakness;
Thence to a lightness; and, by this declension,
Thence to a lightness; and, by this decline,
Into the madness wherein now he raves,
Into the chaos where he now rants,
And all we mourn for.
And everything we grieve for.
King.
King.
Do you think 'tis this?
Do you think it's this?
Queen. It may be, very likely.
Queen. It could be, very likely.
Pol. Hath there been such a time (I'd fain know that,)
Pol. Has there ever been a time (I’d really like to know that,)
That I have positively said, 'tis so,
I've definitely said, "it is so,"
When it proved otherwise?
When it turned out different?
King.
King.
Not that I know.
Not that I’m aware.
Pol. Take this from this, if it be otherwise:
Pol. Take this from this, if it’s different:
[Pointing to his head and shoulder.]
[Pointing to his head and shoulder.]
If circumstances lead me, I will find
If circumstances lead me, I will find
Where truth is hid, though it were hid indeed
Where truth is hidden, even if it’s really hidden
Within the centre.
In the center.
King.
King.
How may we try it further?
How can we try it again?
Pol. You know, sometimes he walks for hours together
Pol. You know, sometimes he walks for hours on end.
Here in the lobby.
In the lobby.
Queen.
Queen.
So he does, indeed.
So he really does.
Pol. At such a time I'll loose my daughter to him:
Pol. At that time, I’ll let my daughter go to him:
Mark the encounter: if he love her not,
Mark the encounter: if he doesn't love her,
And be not from his reason fallen thereon,
And don't let yourself be swayed by his reasoning.
Let me be no assistant for a state,
Let me not help with a state,
But keep a farm, and carters.
But keep a farm and drivers.
King.
King.
We will try it.
We'll give it a try.
Queen. But, look, where sadly the poor wretch comes reading.
Queen. But, look, here comes the poor soul reading, looking so sad.
Pol. Away, I do beseech you both, away:
Pol. Please, I urge you both, go away:
I'll board him presently.25
I'll board him shortly.__A_TAG_PLACEHOLDER_0__
[Exeunt King and Queen, R.H.]
[Exit King and Queen, R.H.]
Enter Hamlet, reading (L.C.)
Enter Hamlet, reading (L.C.)
Pol. How does my good lord Hamlet?
Pol. How is my good friend Hamlet doing?
38Ham. (C.) Excellent well.
38Ham. (C.) Very well.
Pol. (R.) Do you know me, my lord?
Pol. (R.) Do you recognize me, my lord?
Ham. Excellent well; you are a fishmonger.26
Ham. That's awesome; you're a fishmonger.__A_TAG_PLACEHOLDER_0__
Pol. Not I, my lord.
Not me, my lord.
Ham. Then I would you were so honest a man.
Ham. I wish you were a truly honest man.
Pol. Honest, my lord!
Pol. Seriously, my lord!
Ham. Ay, sir; to be honest, as this world goes, is to be one man picked out of ten thousand.
Ham. Yeah, sir; to be honest in this world is to be one person chosen out of ten thousand.
Pol. That's very true, my lord.
Pol. That's very true, my lord.
Ham. For if the sun breed maggots in a dead dog, being a god, kissing carrion,——Have you a daughter?27
Ham. Because if the sun creates maggots in a dead dog, being a god, kissing rotting flesh,——Do you have a daughter?27
Pol. I have, my lord.
I have, my lord.
Ham. Let her not walk i'the sun: conception is a blessing; but as your daughter may conceive,—friend, look to't, look to't, look to't.
Ham. Make sure she doesn't walk in the sun: getting pregnant is a blessing; but considering your daughter might get pregnant—friend, be careful, be careful, be careful.
[Goes up stage.]
[Walks on stage.]
Pol. (Aside.) Still harping on my daughter:—yet he knew me not at first; he said I was a fishmonger. [Crosses to L.] I'll speak to him again.—What do you read, my lord?
Pol. (Aside.) Still going on about my daughter:—but he didn't recognize me at first; he called me a fishmonger. [Crosses to L.] I'll talk to him again.—What are you reading, my lord?
Ham. (C.) Words, words, words.
Ham. (C.) Blah, blah, blah.
Pol. (L.) What is the matter, my lord?
Pol. (L.) What’s up, my lord?
Ham. Between who?
Ham. Between whom?
Pol. I mean, the matter that you read, my lord.
Pol. I mean, the thing you read, my lord.
Ham. Slanders, sir: for the satirical rogue28 says here that old men have grey beards; that their faces are 39 wrinkled; their eyes purging thick amber and plum-tree gum; and that they have a plentiful lack of wit, together with most weak hams: All of which, sir, though I most powerfully and potently believe, yet I hold it not honesty to have it thus set down; for yourself, sir, shall be as old as I am, if, like a crab, you could go backward.
Ham. That's just slander, sir. The sarcastic fool28 claims that old men have grey beards, that their faces are 39 wrinkled, their eyes oozing thick amber and plum-tree gum, and that they lack wit and have weak backs. While I strongly believe this, I don’t think it’s fair to put it that way. Because you, sir, will be as old as I am if, like a crab, you could walk backward.
[Crosses, L.]
[Crosses, L.]
Pol. (Aside.) Though this be madness, yet there's method in it. Will you walk out of the air, my lord?
Pol. (Aside.) Even though this seems crazy, there’s a system to it. Are you going to leave the area, my lord?
Ham. Into my grave?
Ham. Into my grave?
[Crosses R.]
[Crosses R.]
Pol. (L.) Indeed, that is out o' the air.—How pregnant sometimes his replies29 are! a happiness that often madness hits on, which reason and sanity could not so prosperously be delivered of. I will leave him, and suddenly contrive the means of meeting between him and my daughter.—My honourable lord, I will most humbly take my leave of you.
Pol. (L.) That's definitely unexpected. His responses are often quite insightful, a stroke of luck that sometimes comes from madness, which logic and sanity couldn't as successfully produce. I'll leave now and quickly come up with a way for him to meet my daughter. — My esteemed lord, I will respectfully take my leave of you.
Ham. (C.) You cannot, sir, take from me any thing that I will more willingly part withall, except my life, except my life, except my life.
Ham. (C.) You can't take anything from me that I'd be more willing to give up, except my life, except my life, except my life.
Pol. Fare you well, my lord.
Farewell, my lord.
[Exit Polonius, L.H.]
[Exit Polonius, L.H.]
Ham. These tedious old fools!
Ham. These annoying old fools!
Pol. (Without.) You go to seek the lord Hamlet; there he is.
Pol. (Without.) You're looking for Lord Hamlet; there he is.
Ros. Heaven save you, sir!
Ros. God help you, sir!
Enter Rosencrantz and Guildenstern (L.H.)
Enter Rosencrantz and Guildenstern (L.H.)
Guil. My honor'd lord!—
Guil. My honored lord!—
Ros. My most dear lord!—
Ros. My dearest lord!—
Ham. My excellent good friends! How dost thou, Guildenstern? [Crosses to Rosencrantz.] Ah, Rosencrantz! Good lads, how do ye both? What news?
Ham. My wonderful friends! How are you doing, Guildenstern? [Crosses to Rosencrantz.] Ah, Rosencrantz! Good guys, how are you both? What's the news?
Ros. (L.) None, my lord, but that the world's grown honest.
Ros. (L.) Nothing, my lord, except that the world has become honest.
Ham. (C.) Then is dooms-day near: but your news is not true. In the beaten way of friendship,30 what make you at Elsinore?
Ham. (C.) Then the end of the world is close: but your news isn't true. In the usual way of friendship, what are you doing in Elsinore?
40Ros. To visit you, my lord; no other occasion.
40Ros. I'm here to see you, my lord; that's the only reason.
Ham. Beggar that I am, I am even poor in thanks; but I thank you. Were you not sent for? Is it your own inclining? Is it a free visitation? Come, come, deal justly with me: come, come; nay, speak.
Ham. I'm a beggar, so I can't even thank you properly; but I appreciate it. Were you sent for? Is this your choice? Is it just a casual visit? Come on, be honest with me: come on; seriously, talk to me.
Guil. (R.) What should we say, my lord?
Guil. (R.) What should we tell you, my lord?
Ham. Any thing—but to the purpose. You were sent for; and there is a kind of confession in your looks, which your modesties have not craft enough to colour: I know the good king and queen have sent for you.
Ham. Anything but what’s important. You were called here; and there’s a kind of truth in your expressions that your shyness can’t hide: I know the good king and queen have summoned you.
Ros. To what end, my lord?
Ros. Why, my lord?
Ham. That you must teach me. But let me conjure you, by the rights of our fellowship, [taking their hands,] by the consonancy of our youth,31 by the obligation of our ever-preserved love, and by what more dear a better proposer32 could charge you withal, be even33 and direct with me, whether you were sent for, or no?
Ham. You need to teach me that. But I beg you, by the bond of our friendship, [taking their hands,] by the connection of our youth,31 by the promise of our lasting love, and by whatever more precious a better speaker32 could challenge you with, be honest33 and clear with me, were you sent for or not?
Ros. What say you?
Ros. What do you think?
[To Guildenstern.]
[To Guildenstern.]
[Crosses R.]
[Crosses R.]
[Aside.]
[By the way.]
—if you love me, hold not off.
—if you love me, don’t hold back.
Guil. My lord, we were sent for.
Guil. My lord, we got summoned.
Ham. (Returning C.) I will tell you why; so shall my anticipation prevent your discovery, and your secrecy to the king and queen moult no feather.35 I have of late (but wherefore I know not) lost all my mirth, forgone all custom of exercises; and, indeed, it goes so heavily with my disposition, that this goodly frame, the earth, seems to me a steril promontory; this most excellent canopy, the air, look you, this brave o'erhanging firmament, this 41 majestical roof fretted with golden fire, why, it appears no other thing to me than a foul and pestilent congregation of vapours. What a piece of work is man! How noble in reason! how infinite in faculties! in form and moving how express36 and admirable! in action how like an angel! in apprehension how like a god! the beauty of the world! the paragon37 of animals! And yet, to me, what is this quintessence of dust? man delights not me,—nor woman neither, though by your smiling you seem to say so.
Ham. (Returning C.) I'll tell you why; my anticipation will keep you from finding out, and your secret from the king and queen won’t lose its value. 35 Recently, I don’t know why, but I've lost all my joy and have stopped all my usual activities. Honestly, it weighs so heavily on my mind that this wonderful world, the earth, feels like a barren wasteland to me; this superb canopy above, the sky, and this amazing ceiling, shimmering with golden light, they all seem to me nothing but a terrible and poisonous collection of vapors. What a piece of work is man! How noble in reason! How limitless in ability! In appearance and motion, how striking 36 and impressive! In action, how angelic! In understanding, how godlike! The beauty of the world! The epitome 37 of animals! And yet, to me, what is this essence of dust? Man does not please me—nor does woman, even though your smile suggests otherwise.
Ros. My lord, there was no such stuff in my thoughts.
Ros. My lord, that’s not what I was thinking at all.
Ham. Why did you laugh, then, when I said, Man delights not me?
Ham. Why did you laugh when I said, Man doesn't please me?
Ros. To think, my lord, if you delight not in man, what lenten entertainment38 the players shall receive from you: we coted them on the way;39 and hither are they coming, to offer you service.
Ros. To think, my lord, if you don’t enjoy being around people, what a disappointing performance the actors will give you: we caught up with them on the way;39 and here they are coming to offer you their services.
Ham. He that plays the king shall be welcome, his majesty shall have tribute of me; the adventurous knight shall use his foil and target; the lover shall not sigh gratis; the humorous man shall end his part in peace;40 and the lady shall say her mind freely, or the blank verse shall halt for't.41—What players are they?
Ham. Whoever plays the king will be welcomed; his majesty will receive my tribute. The brave knight will use his sword and shield, the lover won’t sigh for free, the funny guy will end his part peacefully, and the lady will speak her mind openly, or the blank verse will stumble because of it. 40 —What actors are they?
Ros. Even those you were wont to take such delight in, the tragedians of the city.
Ros. Even those you used to enjoy so much, the tragic actors of the city.
Ham. How chances it, they travel?42 their residence, both in reputation and profit, was better both ways. Do they hold the same estimation they did when I was in the city? Are they so followed?
Ham. Why are they traveling?42 their home, which was better for their reputation and profit in both directions. Do they still have the same esteem they did when I was in the city? Are they still in demand?
Ros. No, indeed, they are not.
No, they're not.
42Ham. It is not very strange; for my uncle is king of Denmark,43 and those that would make mouths at him44 while my father lived, give twenty, forty, fifty, an hundred ducats a-piece for his picture in little.45 There is something in this more than natural, if philosophy could find it out.
42Ham. It's not that surprising; my uncle is the king of Denmark, 43 and those who mocked him 44 while my father was alive are now paying twenty, forty, fifty, or even a hundred ducats each for a small portrait of him. 45 There’s something about this that goes beyond the ordinary, if philosophy could uncover it.
[Flourish of trumpets without.]
Flourish of trumpets outside.
Guil. There are the players.
Guil. There are the gamers.
Ham. Gentlemen, you are welcome to Elsinore. Your hands. You are welcome: but my uncle-father and aunt-mother are deceived.
Ham. Gentlemen, welcome to Elsinore. Shake hands. You’re welcome here, but my uncle and aunt are fooled.
Guil. In what, my dear lord?
Guil. In what way, my lord?
Ham. I am but mad north-north west: when the wind is southerly I know a hawk from a hern-shaw.46
Ham. I’m just a little crazy, like north-northwest: when the wind is coming from the south, I can tell a hawk from a heron. 46
[Crosses R.]
[Crosses R.]
Pol. (Without, L.H.) Well be with you, gentlemen!
Pol. (Outside, L.H.) Good day to you, gentlemen!
Ham. (Crosses C.) Hark you, Guildenstern;—and Rosencrantz: that great baby you see there is not yet out of his swaddling-clouts.
Ham. (Crosses C.) Listen up, Guildenstern;—and Rosencrantz: that big baby over there is still in his diapers.
Ros. (R.) Haply he's the second time come to them; for they say an old man is twice a child.
Ros. (R.) Maybe he's come back to see them again; because they say an old man is like a child all over again.
Ham. I will prophesy he comes to tell me of the players; mark it.—You say right, sir: o'Monday morning; 'twas then, indeed.
Ham. I’m going to guess he’s here to talk about the actors; pay attention. —You’re correct, sir: it was Monday morning; that’s when it happened.
Enter Polonius L.H.
Enter Polonius L.H.
Pol. My lord, I have news to tell you.
Pol. My lord, I have news for you.
Ham. My lord, I have news to tell you. When Roscius was an actor in Rome,——
Ham. My lord, I have some news for you. When Roscius was an actor in Rome,——
Pol. The actors are come hither, my lord.
Pol. The actors have arrived, my lord.
Ham. Buz, buz!47
Ham. Buzz, buzz! __A_TAG_PLACEHOLDER_0__
Pol. Upon my honour,——
Pol. Honestly,——
Ham. O, Jephthah, judge of Israel,—what a treasure hadst thou!
Ham. Oh, Jephthah, judge of Israel,—what a treasure you had!
Pol. What a treasure had he, my lord?
Pol. What a treasure did he have, my lord?
Ham. Why,—
Ham. Why—
One fair daughter, and no more,
One beautiful daughter, and that's it,
The which he loved passing well.
The one he loved very much.
Pol. Still harping on my daughter.
Pol. Still nagging about my daughter.
[Aside.]
[By the way.]
Ham. Am I not i'the right, old Jephthah?
Ham. Am I not right here, old Jephthah?
Pol. If you call me Jephthah, my lord, I have a daughter that I love passing well.
Pol. If you call me Jephthah, my lord, I have a daughter that I love very much.
Ham. Nay, that follows not.
Ham. No, that doesn't follow.
Pol. What follows, then, my lord?
Pol. What's next, my lord?
Enter Four or Five Players (L.H.)—Polonius crosses behind Hamlet to R.H.
Enter Four or Five Players (L.H.)—Polonius crosses behind Hamlet to R.H.
You are welcome, masters; welcome, all: O, old friend! 44 Why, thy face is valanced54 since I saw thee last; Com'st thou to beard me55 in Denmark?—What, my young lady and mistress. By-'r-lady, your ladyship is nearer to heaven than when I saw you last, by the altitude of a chopine.56 You are welcome. We'll e'en to't like French falconers,57 fly at anything we see: We'll have a speech straight: Come, give us a taste of your quality;58 come, a passionate speech.
You’re welcome, everyone; welcome, all: Oh, old friend! 44 Wow, your face looks different since I last saw you; are you here to confront me in Denmark?—What, my young lady and mistress. Honestly, your ladyship seems closer to heaven than when I last saw you, by the height of a fancy shoe. You are welcome. Let’s get to it like French falconers, going after anything we see: We’ll have a speech right away: Come on, give us a taste of your style; come, give us a passionate speech.
1st Play. (L.H.) What speech, my lord?
1st Play. (L.H.) What are you talking about, my lord?
Ham. I heard thee speak me a speech once,—but it was never acted; or, if it was, not above once; for the play, I remember, pleased not the million; 'twas caviare to the general:59 but it was an excellent play, well digested in the scenes, set down with as much modesty as cunning.60 One speech in it I chiefly loved; 'twas Æneas' tale to Dido; and thereabout of it especially, where he speaks of Priam's slaughter: If it live in your memory, begin at this line; let me see, let me see;—
Ham. I heard you give a speech once, but it was never performed; or if it was, it was only done once because the play didn’t resonate with the audience; it was caviar to the masses: 59 but it was a brilliant play, well-structured in its scenes, written with as much humility as skill.60 There was one speech in it that I loved the most; it was Aeneas’ story to Dido, especially the part where he talks about Priam’s death: If you remember it, start from this line; let me see, let me see;—
The rugged Pyrrhus, like the Hyrcanian beast,—'tis not so: it begins with Pyrrhus:
The tough Pyrrhus, like the Hyrcanian beast,—it's not that way: it starts with Pyrrhus:
The rugged Pyrrhus,—he, whose sable arms,
The tough Pyrrhus—he, whose dark armor,
Black as his purpose, did the night resemble,
The night was as dark as his intentions,
Old grandsire Priam seeks.
Old grandpa Priam is looking.
Pol. (R.) 'Fore Heaven, my lord, well spoken, with good accent and good discretion.
Pol. (R.) 'For heaven’s sake, my lord, well said, with a good accent and good judgment.
Ham. (C.) So proceed you.
Ham. (C.) Go ahead.
1st Play. (L.) Anon he finds him
1st Play. (L.) Anon he finds him
Striking too short at Greeks; his antique sword,
Striking too short at Greeks; his old sword,
Rebellious to his arm, lies where it falls,
Rebellious to his arm, lies where it drops,
Repugnant to command: Unequal match'd,
Unpleasant to command: Unequal match,
Pyrrhus at Priam drives; in rage strikes wide;
Pyrrhus at Priam charges; in anger strikes wildly;
The unnerved father falls.
The anxious father falls.
But, as we often see, against some storm,
But, as we often see, against some storm,
The bold wind speechless, and the orb below
The strong wind is silent, and the sphere below
As hush as death; anon the dreadful thunder
As quiet as death; soon the terrifying thunder
Doth rend the region; So, after Pyrrhus' pause,
Rips through the area; So, after Pyrrhus' break,
A roused vengeance sets him new a work;
A stirred-up desire for revenge drives him to new actions;
And never did the Cyclops' hammers fall
And the Cyclops' hammers never fell
On Mars's armour, forg'd for proof eterne,
On Mars's armor, forged for eternal protection,
With less remorse than Pyrrhus' bleeding sword
With less regret than Pyrrhus' bleeding sword
Now falls on Priam.—
Now falls on Priam.
Out, out, thou fickle Fortune!
Get lost, you fickle Fate!
Pol. (R.) This is too long.
Pol. (R.) This is too long.
Ham. It shall to the barber's, with your beard.— Say on;—come to Hecuba.
Ham. It will go to the barber's with your beard.— Go on;—let's talk about Hecuba.
1st Play. But who, ah woe, had seen the mobled queen—
1st Play. But who, oh no, had seen the confused queen—
Ham. The mobled queen?63
Ham. The troubled queen? __A_TAG_PLACEHOLDER_0__
Pol. That's good; mobled queen is good.
Pol. That's good; mobbed queen is good.
1st Play. Run barefoot up and down, threatening the flames;
1st Play. Run barefoot back and forth, daring the flames;
A clout upon that head
A hit on that head
Where late the diadem stood; and, for a robe,
Where the crown once stood; and, instead of a robe,
A blanket, in the alarm of fear caught up;
A blanket, caught up in a wave of fear;
Who this had seen, with tongue in venom steep'd,
Whoever has seen this, with a tongue full of poison,
'Gainst fortune's state would treason have pronounced.
'Against fortune's situation would treason have declared.
Pol. Look, whether he has not turned his colour, and has tears in's eyes.—Prithee, no more.
Pol. Look, whether he hasn't changed color and has tears in his eyes. —Come on, no more.
Ham. (C.) 'Tis well; I'll have thee speak out the rest of this soon.—Good, my lord, will you see the players well bestowed? Do you hear, let them be well used; for they are the abstract and brief chronicles of the time: After your death you were better have a bad epitaph than their ill report while you live.
Ham. (C.) "That's good; I want you to finish the rest of this soon. —My lord, will you make sure the actors are treated well? Listen, treat them properly, because they are the condensed history of our time: After you die, it's better to have a bad epitaph than to be poorly spoken of while you're still alive."
Pol. (R.) My lord, I will use them according to their desert.
Pol. (R.) My lord, I will treat them based on what they deserve.
Ham. Much better: Use every man after his desert, and who shall 'scape whipping? Use them after your own honour and dignity: The less they deserve, the more merit is in your bounty. Take them in.
Ham. Much better: Treat each man according to what he deserves, and who will escape punishment? Treat them according to your own honor and dignity: The less they deserve, the more merit there is in your kindness. Bring them in.
[Crosses to R.H.]
[Crosses to R.H.]
Pol. Come, sirs.
Come on, guys.
Ham. Follow him, friends: we'll hear a play to-morrow.
Ham. Let’s go, friends: we’ll watch a play tomorrow.
[Exit Polonius with some of the Players, L.H.]
[Exit Polonius with some of the Actors, L.H.]
Old friend [Crosses to C.] —My good friends [To Rosencrantz and Guildenstern.] I'll leave you till night: you are welcome to Elsinore—can you play the murder of Gonzago?
Old friend [Crosses to C.] —My good friends [To Rosencrantz and Guildenstern.] I'll see you later tonight: you’re welcome to Elsinore—can you perform the murder of Gonzago?
[Exeunt Rosencrantz and Guildenstern, R.H.]
[Exit Rosencrantz and Guildenstern, R.H.]
1st Play. Ay, my lord.
1st Play. Yes, my lord.
Ham. We'll have it to-morrow night. You could, for a need, study a speech of some dozen or sixteen lines, which I would insert in't—could you not?
Ham. We'll do it tomorrow night. You could, if necessary, memorize a speech of about twelve or sixteen lines that I would include in it—couldn't you?
1st Play. Ay, my lord.
1st Play. Yes, my lord.
Ham. Very well.—Follow that lord; and look you mock him not.
Ham. Alright. — Follow that guy; and make sure you don't make fun of him.
[Exit Player, L.H.]
[Exit Player, L.H.]
Now I am alone.
Now I'm alone.
O, what a rogue and peasant slave am I!
O, what a scoundrel and commoner slave I am!
Is it not monstrous, that this player here,
Is it not outrageous that this actor here,
But in a fiction, in a dream of passion,
But in a story, in a dream of desire,
Could force his soul so to his own conceit,
Could compel his soul to align with his own perception,
Tears in his eyes, distraction in's aspect,
Tears in his eyes, distraction in his expression,
A broken voice, and his whole function suiting
A broken voice, and everything about him fitting.
For Hecuba?
For Hecuba?
What's Hecuba to him, or he to Hecuba,
What's Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
That he should cry for her? What would he do,
Had he the motive and the cue66 for passion
Had he the motive and the cue for passion
That I have? He would drown the stage with tears,
That I have? He would flood the stage with tears,
And cleave the general ear with horrid speech;
And shock everyone with terrible words;
Make mad the guilty, and appal the free;
Make the guilty crazy, and scare the innocent;
Confound the ignorant, and amaze, indeed,
Confuse the clueless, and truly astonish,
The very faculties of eyes and ears.
The very abilities of sight and hearing.
Yet I,
Yet I,
A dull and muddy-mettled rascal, peak,
A dull and unrefined troublemaker, peak,
And can say nothing; no, not for a king,
And I can't say anything; not even for a king,
Upon whose property and most dear life
Upon whose property and most dear life
Who calls me villain? breaks my pate across?
Who calls me a villain? Who hits me on the head?
Plucks off my beard, and blows it in my face?
Plucks off my beard and blows it in my face?
Tweaks me by the nose? gives me the lie i'the throat,
Tweaks me by the nose? Calls me a liar to my face,
As deep as to the lungs? Who does me this,
As deep as to the lungs? Who does this to me,
Ha?
Huh?
Why, I should take it: for it cannot be
Why should I take it? It can't be
But I am pigeon-liver'd, and lack gall
But I'm cowardly and lack the courage.
I should have fatted all the region kites
I should have fed all the local kites.
With this slave's offal: Bloody, bawdy villain!
With this slave's waste: Bloody, crude villain!
Remorseless, treacherous, lecherous, kindless71 villain!
Ruthless, deceitful, sleazy, heartless __A_TAG_PLACEHOLDER_0__ villain!
O, vengeance!
Oh, revenge!
Why, what an ass am I! This is most brave,
Why, what an idiot I am! This is really bold,
That I, the son of a dear father murder'd,
That I, the son of a beloved father who was murdered,
Prompted to my revenge by heaven and hell,
Prompted to seek my revenge by both heaven and hell,
Must, like a scold, unpack my heart with words,
Must, like a nag, lay bare my heart with words,
And fall a cursing, like a very drab,
And began to curse, like a complete slattern,
A scullion!
A kitchen helper!
That guilty creatures, sitting at a play,
That guilty people, sitting at a show,
Have by the very cunning of the scene
Have by the cleverness of the scene
Been struck so to the soul, that presently
Been hit so deeply, that right now
They have proclaim'd their malefactions;
They have proclaimed their wrongdoings;
For murder, though it have no tongue, will speak
For murder, even without a voice, will make itself heard.
With most miraculous organ. I'll have these players
With a truly amazing organ. I'll get these players
Play something like the murder of my father
Play something like the murder of my dad.
Before mine uncle: I'll observe his looks;
Before my uncle: I'll watch his expression;
I know my course. The spirit that I have seen
I know my path. The spirit I've encountered
May be the devil: and the devil hath power
May be the devil: and the devil has power
To assume a pleasing shape; yea, and, perhaps
To take on a nice shape; yes, and maybe
Out of my weakness and my melancholy
Out of my weakness and my sadness
(As he is very potent with such spirits),
(As he is very powerful with such spirits),
Abuses me to damn me: I'll have good grounds
Abuses me to ruin me: I'll have solid reasons.
Wherein I'll catch the conscience of the king.
Where I'll reveal the king's true conscience.
[Exit, R.H.]
[Exit, R.H.]
END OF ACT SECOND.
Notes
Act II
Act 2
II.1 Polonius,] Doctor Johnson describes Polonius as "a man bred in courts, exercised in business, stored with observation, confident in his knowledge, proud of his eloquence, and declining into dotage. A man positive and confident, because he knows his mind was once strong, and knows not that it is become weak." The idea of dotage encroaching upon wisdom will solve all the phenomena of the character of Polonius.
II.1 Polonius,] Doctor Johnson describes Polonius as "a man raised in courts, experienced in affairs, full of observations, sure of his knowledge, proud of his speech, and slipping into old age. A man certain and confident, because he knows his mind was once sharp, and doesn’t realize that it has become weak." The concept of declining wisdom will explain all the traits of Polonius's character.
II.2 His bulk,] Frame.
__A_TAG_PLACEHOLDER_0__ His size, Frame.
II.3 Ecstacy of love;] i.e., madness of love. In this sense the word is now obsolete.
II.3 Ecstasy of love;] i.e., madness of love. In this sense, the word is now outdated.
This must be known; which being kept close, might move
This must be known; which being kept hidden, might influence
More grief to hide than hate to utter love.]
More sorrow to conceal than anger to express love.
i.e., this must be made known to the king, for (being kept secret) the hiding Hamlet's love might occasion more mischief to us from him and the queen, than the uttering or revealing of it will occasion hate and resentment from Hamlet.
i.e., this needs to be brought to the king's attention, because keeping Hamlet's love a secret could lead to more trouble for us from him and the queen than actually revealing it would cause in terms of anger and resentment from Hamlet.
It was the custom of Shakespeare's age, to conclude acts and scenes with a couplet, a custom which was continued for nearly a century afterwards.
It was the tradition in Shakespeare's time to wrap up acts and scenes with a rhymed couplet, a practice that continued for almost a hundred years afterward.
II.5 The understanding of himself,] i.e., the just estimate of himself.
II.5 His self-awareness, i.e. the accurate assessment of himself.
II.7 Of us,] i.e., over us.
__A_TAG_PLACEHOLDER_0__ Of us, i.e. over us.
II.8 In the full bent,] To the full stretch and range—a term derived from archery.
II.8 In the full bent,] To the maximum stretch and range—a term taken from archery.
II.9 The trail of policy] The trail is the course of an animal pursued by the scent.
II.9 The trail of policy] The trail is the path of an animal tracked by its scent.
II.10 Expostulate] To expostulate is to discuss, to put the pros and cons, to answer demands upon the question. Expose is an old term of similar import.
II.10 Expostulate] To expostulate means to discuss, to weigh the pros and cons, to respond to demands regarding the issue at hand. Expose is an old term with a similar meaning.
II.11 Perpend.] i.e., reflect, consider attentively.
__A_TAG_PLACEHOLDER_0__ Think about it.
II.12 Most beautified Ophelia,] Heywood, in his History of Edward VI., says "Katharine Parre, Queen Dowager to King Henry VIII., was a woman beautified with many excellent virtues." The same expression is frequently used by other old authors.
II.12 The most beautiful Ophelia, Heywood, in his History of Edward VI., says "Katharine Parre, the Dowager Queen to King Henry VIII., was a woman embellished with many excellent virtues." The same phrase is often used by other old authors.
II.13 In her excellent white bosom,] The ladies, in Shakespeare's time, wore pockets in the front of their stays.
II.13 In her excellent white bosom,] Back in Shakespeare's day, the ladies had pockets sewn into the front of their corsets.
II.14 These, &c.] In our poet's time, the word these was usually added at the end of the superscription of letters.
II.14 These, &c.] In our poet's era, the word these was often included at the end of the titles of letters.
II.15 I am ill at these numbers;] No talent for these rhymes.
II.15 I’m struggling with these numbers;] No skill for these rhymes.
II.17 Whilst this machine is to him,] Belongs to, obey his impulse; so long as he is "a sensible warm motion," the similar expression to "While my wits are my own."
II.17 As long as this machine is his,] It belongs to him, following his instincts; as long as he is "a sensible warm motion," similar to "While I have my wits about me."
II.18 And more above,] i.e., moreover, besides.
__A_TAG_PLACEHOLDER_0__ And more above,] i.e., also, besides.
II.19 His solicitings,] i.e., his love-making, his tender expressions.
II.19 His attempts to win her over, i.e. his flirting, his sweet talk.
II.20 If I had played the desk, or table book;] This line may either mean if I had conveyed intelligence between them, or, known of their love, if I had locked up his secret in my own breast, as closely as it were confined in a desk or table book.
II.20 If I had kept the information to myself, This line could mean if I had shared knowledge between them, or, if I had been aware of their feelings, if I had hidden his secret in my heart, just like it would be securely stored in a desk or notebook.
II.21 Or given my heart a winking, mute and dumb;] i.e., connived at it.
II.21 Or gave my heart a wink, silent and unspoken;] i.e., went along with it.
II.22 With idle sight;] i.e., with indifference.
__A_TAG_PLACEHOLDER_0__ With a blank stare;] i.e., with indifference.
II.23 Round to work,] i.e., roundly, without reserve.
II.23 Go all in,] that is, completely, without holding back.
II.24 Which done, she took the fruits of my advice;] She took the fruits of advice when she obeyed advice, the advice was then made fruitful.—Johnson.
II.24 Once that was done, she followed my advice; She reaped the benefits of advice when she listened, and that made the advice effective.—Johnson.
II.25 I'll board him presently.] Accost, address him.
II.25 I'll talk to him shortly.] Approach, speak to him.
II.26 You are a fishmonger.] This was an expression better understood in Shakespeare's time than at present, and no doubt was relished by the audience of the Globe Theatre as applicable to the Papists, who in Queen Elizabeth's time were esteemed enemies to the Government. Hence the proverbial phrase of He's an honest man and eats no fish; to signify he's a friend to the Government and a Protestant.
II.26 You are a fishmonger.] This phrase was more meaningful in Shakespeare's time than it is today, and undoubtedly resonated with the audience at the Globe Theatre as it related to the Catholics, who were viewed as enemies of the Government during Queen Elizabeth's reign. Thus, the saying He's an honest man and eats no fish; came to signify that someone is a supporter of the Government and a Protestant.
II.27 For if the sun breed maggots in a dead dog, being a god, kissing carrion,——Have you a daughter?] i.e., Hamlet having just remarked that honesty is very rare in the world, adds, that since there is so little virtue, since corruption abounds everywhere, and maggots are bred by the sun, which is a god, even in a dead dog, Polonius ought to take care to prevent his daughter from walking in the sun, lest she should prove "a breeder of sinners;" for though conception (understanding) in general be a blessing, yet as Ophelia might chance to conceive (to be pregnant), it might be a calamity. Hamlet's abrupt question, "Have you a daughter?" is evidently intended to impress Polonius with the belief of the Prince's madness.—Malone.
II.27 For if the sun produces maggots in a dead dog, being a god, kissing decay,——Do you have a daughter?] i.e., Hamlet has just pointed out that honesty is really rare these days, and adds that since there's so little virtue and corruption is everywhere, and maggots are produced by the sun, which is a god, even in a dead dog, Polonius needs to keep his daughter from walking in the sun, or she might end up "creating sinners;" because while conception (understanding) in general is a blessing, if Ophelia were to conceive (to be pregnant), it could be a disaster. Hamlet's sudden question, "Do you have a daughter?" is clearly meant to make Polonius believe in the Prince's madness.—Malone.
II.28 The satirical rogue] Hamlet alludes to Juvenal, who in his 10th Satire, describes the evils of long life.
II.28 The satirical rogue] Hamlet references Juvenal, who in his 10th Satire, talks about the problems of living a long life.
II.30 Beaten way of friendship,] Plain track, open and unceremonious course.
II.30 The straightforward path of friendship,] A simple route, direct and without pretension.
II.31 Rights of our fellowship and constancy of our youth,] Habits of familiar intercourse and correspondent years.
II.31 Rights of our community and the loyalty of our youth, Habit of close connections and shared experiences over the years.
II.32 A better proposer] An advocate of more address in shaping his aims, who could make a stronger appeal.
II.32 A better proposer] Someone who is more skilled at defining their goals and can make a more compelling case.
II.33 Even] Without inclination any way.
__A_TAG_PLACEHOLDER_0__ Even Without any inclination.
II.34 Nay, then, I have an eye of you.] i.e., I have a glimpse of your meaning. Hamlet's penetration having shown him that his two friends are set over him as spies.
II.34 No, I get what you’re saying. i.e., I understand your intention. Hamlet’s insight has revealed to him that his two friends are watching him like spies.
II.35 So shall my anticipation prevent your discovery, and your secrecy to the king and queen moult no feather.] Be beforehand with your discovery, and the plume and gloss of your secret pledge be in no feather shed or tarnished.
II.35 My eagerness will keep you from being found out, and your secret will remain untarnished before the king and queen. Be proactive in revealing your secret, and make sure that the elegance and shine of your promise don't lose any of their luster.
II.36 Express] According to pattern, justly and perfectly modelled.
II.36 Express] In line with the pattern, accurately and precisely crafted.
II.37 Paragon] Model of perfection.
__A_TAG_PLACEHOLDER_0__ Paragon] Ideal example.
II.38 Lenten entertainment] i.e., sparing, like the entertainments given in Lent.
II.38 Lenten entertainment] i.e., minimal, like the entertainment provided during Lent.
II.39 We coted them on the way;] To cote, is to pass by, to pass the side of another. It appears to be a word of French origin, and was a common sporting term in Shakespeare's time.
II.39 We passed them on the way;] To pass by means to go alongside another. It seems to come from French, and it was a common sports term during Shakespeare's time.
II.40 The humorous man shall end his part in peace;] The fretful or capricious man shall vent the whole of his spleen undisturbed.
II.40 The funny guy will finish his role in peace;] The grumpy or unpredictable guy will express all his frustration without interruption.
II.41 The lady shall say her mind freely, or the blank verse shall halt for't.] i.e., the lady shall mar the measure of the verse, rather than not express herself freely and fully.
II.41 The lady will speak her mind openly, or the blank verse will stumble because of it.] i.e., the lady will disrupt the rhythm of the verse rather than hold back her thoughts.
II.42 Travel?] Become strollers.
__A_TAG_PLACEHOLDER_0__ Travel?] Become walkers.
II.43 It is not very strange; for my uncle is king of Denmark;] This is a reflection on the mutability of fortune, and the variableness of man's mind.
II.43 It's not that unusual; my uncle is the king of Denmark; This is a thought on how fortunes change and how unpredictable human nature can be.
II.44 Make mouths at him] i.e., deride him by antic gestures and mockery.
II.44 Make faces at him] i.e., mock him with funny gestures and ridicule.
II.45 In little.] In miniature.
__A_TAG_PLACEHOLDER_0__ In little.] In mini.
II.46 I know a hawk from a hern-shaw.] A hernshaw is a heron or hern. To know a hawk from a hernshaw is an ancient proverb, sometimes corrupted into handsaw. Spencer quotes the proverb, as meaning, wise enough to know the hawk from its game.
II.46 I can tell a hawk from a heron. A hernshaw is a heron or hern. To know a hawk from a hernshaw is an old saying, sometimes misheard as handsaw. Spencer uses the saying to mean, smart enough to distinguish the hawk from its prey.
II.47 Buz, buz!] Sir William Blackstone states that buz used to be an interjection at Oxford when any one began a story that was generally known before.
II.47 Buz, buz!] Sir William Blackstone notes that buz used to be an interjection at Oxford when someone started a story that everyone already knew.
II.48 Then came each actor on his ass.] This seems to be a line of a ballad.
II.48 Then came each actor on his donkey.] This seems to be a line of a ballad.
II.49 Seneca cannot be too heavy, nor Plautus too light.] An English translation of the tragedies of Seneca was published in 1581, and one comedy of Plautus, viz., the Menœchme, in 1595.
II.49 Seneca can't be too serious, and Plautus can't be too silly.] An English translation of Seneca's tragedies was released in 1581, and one of Plautus's comedies, specifically the Menœchme, came out in 1595.
II.50 For the law of writ and the liberty, these are the only men.] The probable meaning of this passage is,—For the observance of the rules of the Drama, while they take such liberties, as are allowable, they are the only men—writ is an old word for writing.
II.50 For the rules of writing and the freedom, these are the only people.] The likely meaning of this passage is,—For following the rules of the Drama, while they take such liberties that are acceptable, they are the only people—writ is an old term for writing.
II.51 As by lot, God wot,] There was an old ballad entitled the song of Jephthah, from which these lines are probably quotations. The story of Jephthah was also one of the favourite subjects of ancient tapestry.
II.51 As by lot, God knows, There was an old ballad called the song of Jephthah, from which these lines are likely quotes. The tale of Jephthah was also one of the popular themes in ancient tapestries.
II.52 The first row of the pious Chanson] This expression does not appear to be very well understood. Steevens tells us that the pious chansons were a kind of Christmas carols, containing some scriptural history thrown into loose rhymes, and sung about the streets. The first row appears to mean the first division of one of these.
II.52 The first line of the religious song] This phrase doesn't seem to be very clear. Steevens explains that the religious songs were a type of Christmas carol, featuring some biblical stories written in loose rhymes and sung in the streets. The first line seems to refer to the first section of one of these.
II.53 My abridgment comes.] Hamlet alludes to the players, whose approach will shorten his talk.
II.53 My summary is here. Hamlet refers to the actors, whose arrival will cut his speech short.
II.54 Thy face is valanced] i.e., fringed with a beard. The valance is the fringes or drapery hanging round the tester of a bed.
II.54 Your face is framed] i.e., surrounded by a beard. The valance is the fringe or drapery that hangs around the top frame of a bed.
II.55 Com'st thou to beard me] To beard anciently meant to set at defiance. Hamlet having just told the player that his face is valanced, is playing upon the word beard.
II.55 Are you here to confront me] To confront used to mean to stand up to someone. Hamlet, having just told the actor that his face is framed, is playing with the word confront.
II.56 By the altitude of a chopine.] A chioppine is a high shoe, or rather clog, worn by the Italians. Venice was more famous for them than any other place. They are described as having been made of wood covered with coloured leather, and sometimes even half a yard high, their altitude being proportioned to the rank of the lady, so that they could not walk without being supported.
II.56 By the height of a chopine. A chopine is a tall shoe, or actually a clog, worn by Italians. Venice was known for them more than anywhere else. They were made of wood covered with colored leather, and sometimes even half a yard high, with the height corresponding to the lady's status, so they couldn’t walk without support.
II.57 Like French falconers,] The French seem to have been the first and noblest falconers in the western part of Europe. The French king sent over his falconers to show that sport to King James the First. —See Weldon's Court of King James.
II.57 Like French falconers, The French appear to have been the earliest and most skilled falconers in Western Europe. The French king dispatched his falconers to demonstrate that sport to King James the First. —See Weldon's Court of King James.
II.58 Quality;] Qualifications, faculty.
__A_TAG_PLACEHOLDER_0__ Quality;] Credentials, faculty.
II.59 Caviare to the general;] Caviare is the spawn of fish pickled, salted, and dried. It is imported from Russia, and was considered in the time of Shakespeare a new and fashionable luxury, not obtained or relished by the vulgar, and therefore used by him to signify anything above their comprehension—general is here used for the people.
II.59 Caviar to the general; Caviar is the eggs of fish that have been pickled, salted, and dried. It's imported from Russia and was seen during Shakespeare's time as a trendy luxury that wasn't enjoyed by the common people, so he used it to represent anything beyond their understanding—here, "general" refers to the public.
II.60 As much modesty as cunning.] As much propriety and decorum as skill.
II.60 As much modesty as cleverness. As much appropriateness and decorum as talent.
II.61 Falls with the whiff and wind of his fell sword] Our author employs the same image in almost the same phrase:
II.61 Falls with the scent and breeze of his deadly sword] Our author uses the same image in nearly the same words:
"The Grecians fall
"The Grecians fail
Even in the fan and wind of your fair sword."
Even in the breeze and gusts of your beautiful sword.
Tr. & Cress. V. 3. Tr.
Tr. & Cress. V. 3. Tr.
II.63 The mobled queen?] Mobled is veiled, muffled, disguised.
II.63 The veiled queen?] Veiled means hidden, muted, or disguised.
II.64 All his visage wann'd;] i.e., turned pale or wan.
II.64 All his face turned pale;] i.e., grew pale or wan.
II.65 His whole functions suiting with forms to his conceit?] i.e., his powers and faculties—the whole energies of his soul and body giving material forms to his passion, such as tone of voice, expression of face, requisite action, in accordance with the ideas that floated in his conceit or imagination.
II.65 Do all his abilities match the ideas he has in his head?] i.e., his talents and skills—the complete energies of his mind and body manifesting his feelings through things like voice tone, facial expression, and the necessary actions, all in line with the thoughts he imagines.
II.66 The cue] The point—the direction.
__A_TAG_PLACEHOLDER_0__ The cue] The point—the direction.
II.67 Like John a-dreams,] Or dreaming John, a name apparently coined to suit a dreaming, stupid person; he seems to have been a well-known character.
II.67 Like John a-dreams, Or dreaming John, a name clearly created to describe someone who dreams a lot and is somewhat foolish; he seems to have been a familiar figure.
II.68 Unpregnant of my cause,] i.e., not quickened with a new desire of vengeance; not teeming with revenge.
II.68 Empty of my purpose, meaning, not filled with a new desire for revenge; not overflowing with retribution.
II.69 Defeat was made.] Overthrow.
__A_TAG_PLACEHOLDER_0__ Defeat was accepted. Overthrow.
II.70 Lack gall to make oppression bitter;] i.e., lack gall to make me feel the bitterness of oppression.
II.70 Don't have the nerve to make oppression painful;] in other words, don't have the nerve to make me feel the pain of oppression.
II.71 Kindless] Unnatural.
__A_TAG_PLACEHOLDER_0__ Kindless Unnatural.
II.73 I'll tent him to the quick:] i.e., probe him—search his wounds.
II.73 I'll get straight to the point: i.e., investigate him—check his injuries.
II.74 Blench,] Shrink, start aside.
__A_TAG_PLACEHOLDER_0__ Blench,] Shrink, stand aside.
49
49
ACT III.
Scene 1.—A ROOM IN THE CASTLE.
Three chairs on L.H., one on R.
Three chairs on L.H., one on R.
Enter King and Queen, preceded by Polonius. Ophelia, Rosencrantz, and Giuldenstern, following (R.H.)
Enter King and Queen, followed by Polonius. Ophelia, Rosencrantz, and Guildenstern, following (R.H.)
King. (C.) And can you, by no drift of conference,
King. (C.) And can you, by no means of discussion,
Get from him why he puts on this confusion?
Get from him why he creates this confusion?
Ros. (R.) He does confess he feels himself distracted;
Ros. (R.) He admits that he feels distracted;
But from what cause he will by no means speak.
But he absolutely refuses to say why.
Guild. (R.) Nor do we find him forward1 to be sounded
Guild. (R.) Nor do we find him eager1 to be explored
But, with a crafty madness, keeps aloof,
But with a clever madness, stays distant,
When we would bring him on to some confession
When we would get him to confess
Of his true state.
Of his real condition.
Queen. (R.C.) Did you assay him2
Queen. (R.C.) Did you test him __A_TAG_PLACEHOLDER_0__
To any pastime?
To any hobby?
Ros. Madam, it so fell out, that certain players
Ros. Ma'am, it just so happened that some actors
And there did seem in him a kind of joy
And there did seem in him a kind of joy
To hear of it: They are about the court;
To hear about it: They're around the court;
And, as I think, they have already order
And, as I think, they have already ordered.
This night to play before him.
This night to perform in front of him.
Pol.
Pol.
'Tis most true:
It's absolutely true:
And he beseech'd me to entreat your majesties
And he begged me to ask your majesties
To hear and see the matter.
To hear and see what’s going on.
King. With all my heart; and it doth much content me
King. With all my heart; and it makes me very happy.
To hear him so inclin'd.
To hear him so interested.
Good gentlemen, give him a further edge,
Good gentlemen, give him an extra advantage,
And drive his purpose on to these delights.
And pursue his goal towards these pleasures.
Ros. We shall, my lord.
Ros. We will, my lord.
[Exeunt Rosencrantz and Guildenstern, R.H.]
[Rosencrantz and Guildenstern leave, R.H.]
50 King.
50 King.
Sweet Gertrude, leave us too;
Sweet Gertrude, go with us too;
That he, as 'twere by accident, may here
That he, as if by accident, may here
Affront Ophelia:5
Offend Ophelia: __A_TAG_PLACEHOLDER_0__
Will so bestow ourselves, that, seeing, unseen,
Will we present ourselves in such a way that we are seen, yet remain unnoticed,
We may of their encounter frankly judge;
We can honestly judge their encounter;
And gather by him, as he is behaved,
And gather around him, just as he acts,
If't be the affliction of his love or no
If it’s the burden of his love or not
That thus he suffers for.
That’s why he suffers.
Queen. (R.)
Queen. (R.)
I shall obey you:
I'll obey you:
And for your part, Ophelia,
And for your part, Ophelia,
[Ophelia comes down L.H.]
[Ophelia enters L.H.]
I do wish
I really wish
That your good beauties be the happy cause
That your wonderful qualities be the joyful reason
Of Hamlet's wildness: so shall I hope your virtues
Of Hamlet's wild behavior: I hope your good qualities will shine through.
Will bring him to his wonted way again,
Will bring him back to his usual self again,
To both your honours.
To both of you.
Oph.
Oph.
Madam, I wish it may.
Ma'am, I hope it does.
[Exit Queen, R.H.]
[Exit Queen, R.H.]
Pol. Ophelia, walk you here. Gracious, so please you,
Pol. Ophelia, come over here. Please, if you don't mind,
We will bestow ourselves. Read on this book;
We will give ourselves. Keep reading this book;
[To Ophelia.]
[To Ophelia.]
That show of such an exercise may colour
That display of such an exercise may color
Your loneliness. We are oft to blame in this,—
Your loneliness. We're often to blame for this,—
'Tis too much prov'd,7 that, with devotion's visage
'Tis too much proved,7 that, with devotion's face
And pious action, we do sugar o'er
And we sweeten our righteous deeds
The devil himself.
The devil himself.
King.
King.
O, 'tis too true! how smart
O, it's too true! how smart
A lash that speech doth give my conscience! [Aside.]
A punishment that my conscience feels from this speech! [Aside.]
Pol. I hear him coming: let's withdraw, my lord.
Pol. I hear him coming: let's step back, my lord.
[Exeunt King and Polonius, R.H. 2 E., and Ophelia, R.H.U.E.]
[Exit King and Polonius, R.H. 2 E., and Ophelia, R.H.U.E.]
Enter Hamlet (L.H.)
Enter Hamlet (L.H.)
Whether 'tis nobler in the mind to suffer
Whether it's better in the mind to endure
The slings and arrows of outrageous fortune,
The ups and downs of outrageous luck,
And, by opposing end them?—To die,—to sleep,
And, by opposing them, end them?—To die,—to sleep,
No more;—and by a sleep, to say we end
No more;—and by a sleep, to say we end
The heart-ache, and the thousand natural shocks
The heartbreak and the countless natural challenges
That flesh is heir to: 'tis a consummation
That flesh is heir to: it's a dream come true
Devoutly to be wished. To die,—to sleep,—
Devoutly to be wished. To die—to sleep—
To sleep! perchance to dream: ay, there's the rub;
To sleep! Maybe to dream: yeah, that's the catch;
For in that sleep of death what dreams may come,
For in that sleep of death, what dreams might arise,
That makes calamity of so long life;
That makes the suffering of such a long life;
For who would bear the whips and scorns of time,13
For who would endure the insults and hardships of life, 13
The oppressor's wrong, the proud man's contumely,14
The oppressor's injustice, the arrogant person's insults, 14
The pangs of despised love, the law's delay,
The pain of unrequited love, the slow process of the law,
The insolence of office, and the spurns
The arrogance of authority, and the rejections
That patient merit of the unworthy takes,
That patient merit of the unworthy accepts,
To groan and sweat under a weary life,
To moan and sweat through a tiring life,
But that the dread of something after death,
But the fear of what comes after death,
No traveller returns,19 puzzles the will,
No traveler returns, __A_TAG_PLACEHOLDER_0__ muddles the mind,
And makes us rather bear those ills we have
And makes us endure the problems we already have
Than fly to others that we know not of?
Than fly to others that we don’t know about?
And thus the native hue of resolution
And so the natural color of determination
Is sicklied o'er with the pale cast of thought;
Is overshadowed by the dullness of overthinking;
And enterprises of great pith and moment,21
And ventures of great importance, __A_TAG_PLACEHOLDER_0__
With this regard, their currents turn away,
With this in mind, their currents shift away,
Be all my sins remember'd.
Remember all my sins.
Oph. (R.C.)
Oph. (R.C.)
Good my lord,
Good day, my lord,
How does your honour for this many a day?
How has your honor been for so many days?
Ham. (L.C.) I humbly thank you; well.
Ham. (L.C.) Thanks; sounds good.
Oph. My lord, I have remembrances of yours,
Oph. My lord, I have some memories of yours,
That I have longèd long to re-deliver;
That I have longed to share again;
I pray you, now receive them.
I ask you to please accept them now.
Ham.
Ham.
No, not I;
No, not me;
I never gave you aught.
I never gave you anything.
Oph. My honour'd lord, you know right well you did;
Oph. My honored lord, you know very well you did;
And, with them, words of so sweet breath compos'd
And along with them, words that smelled so sweet were composed.
As made the things more rich: their perfume lost,
As the things became richer, their scent faded.
Take these again; for to the noble mind
Take these again; for to the noble mind
Rich gifts wax poor when givers prove unkind.
Rich gifts lose their value when the givers are unkind.
There, my lord.
Here, my lord.
Ham. Ha, ha! are you honest?
Ham. Ha, ha! Are you for real?
Oph. My lord?
Oph. My lord?
Ham. Are you fair?
Ham. Are you okay?
Oph. What means your lordship?
Oph. What does your lordship mean?
Ham. That if you be honest and fair, your honesty should admit no discourse to your beauty.25
Ham. If you are honest and fair, your honesty shouldn't allow any conversation to take away from your beauty.25
Oph. Could beauty, my lord, have better commerce than with honesty?
Oph. Could beauty, my lord, have a better relationship than with honesty?
Ham. Ay, truly; for the power of beauty will sooner transform honesty from what it is to a bawd, than the force of honesty can translate beauty into his likeness:26 this was some time a paradox, but now the time gives it proof. I did love you once.
Ham. Yes, definitely; because the power of beauty can change honesty into something corrupt much quicker than honesty can make beauty resemble it:26 this used to seem like a paradox, but now it’s proven true. I once loved you.
Oph. Indeed, my lord, you made me believe so.
Oph. Yeah, my lord, you really had me thinking that.
Ham. You should not have believed me; for virtue cannot so inoculate our old stock, but we shall relish of it:27 I loved you not.
Ham. You shouldn't have trusted me; because virtue can't completely change our nature, we'll still crave it:27 I didn't love you.
Oph. I was the more deceived.
I was more deceived.
Ham. Get thee to a nunnery: Why wouldst thou be a breeder of sinners? I am myself indifferent honest; but yet I could accuse me of such things, that it were better my mother had not borne me: I am very proud, revengeful, ambitious; with more offences at my beck28 than I have thoughts to put them in,29 imagination to give them shape, or time to act them in. What should such fellows as I do, crawling between earth and heaven? 54 We are arrant knaves, all; believe none of us. Go thy ways to a nunnery. Where's your father?
Ham. Get yourself to a nunnery: Why would you want to be a source of sinners? I'm pretty honest myself; but still, I could accuse myself of such things that it would be better if my mother hadn't given birth to me: I'm very proud, vengeful, ambitious; with more wrongdoings at my disposal than I have thoughts to name, imagination to shape, or time to act on them. What should people like me do, crawling between earth and heaven? 54 We are all complete knaves; don't believe any of us. Go on, get to a nunnery. Where's your father?
Oph. At home, my lord.
Oph. At home, my lord.
Ham. Let the doors be shut upon him, that he may play the fool nowhere but in's own house. Farewell.
Ham. Let’s close the doors on him, so he can act like a fool only in his own home. Goodbye.
Oph. O, help him, you sweet heavens!
Oph. Oh, please help him, sweet heavens!
Ham. If thou dost marry, I'll give thee this plague for thy dowry. Be thou as chaste as ice, as pure as snow, thou shalt not escape calumny. Get thee to a nunnery; farewell. Or, if thou wilt needs marry, marry a fool; for wise men know well enough what monsters you make of them. To a nunnery, go; go; go.
Ham. If you get married, I'll give you this curse as your dowry. Be as chaste as ice, as pure as snow, and you still won't escape gossip. Go to a nunnery; goodbye. Or, if you really want to marry, marry a fool; because smart men know exactly what monsters you turn them into. To a nunnery, go; go; go.
Oph. Heavenly powers, restore him!
Heavenly powers, bring him back!
Ham. I have heard of your paintings30 too, well enough; Heaven hath given you one face, and you make yourselves another:31 you jig, you amble, and you lisp,32 and nickname Heaven's creatures, and make your wantonness your ignorance.33 Go to, I'll no more of't; it hath made me mad. [Hamlet crosses to R.H.] I say, we will have no more marriages: those that are married already, all but one,34 shall live; the rest shall keep as they are. To a nunnery, go.
Ham. I've heard about your paintings too, quite well; God has given you one face, and you create another:31 you dance, you stroll, and you talk in a silly way,32 and give names to God's creations, turning your wildness into ignorance.33 Enough, I won't deal with it anymore; it has driven me insane. [Hamlet crosses to R.H.] I say, we won't have any more marriages: those who are married already, all but one,34 will stay married; the rest will remain as they are. To a convent, go.
[Exit Hamlet, R.H.35]
[Exit Hamlet, R.H.__A_TAG_PLACEHOLDER_0__]
Oph. (L.) O, what a noble mind is here o'erthrown!
Oph. (L.) Oh, what a great mind has been ruined here!
The observ'd of all observers, quite, quite down!
The one watched by everyone, completely down!
And I, of ladies most deject and wretched,
And I, of all the women most downcast and miserable,
Now see that noble and most sovereign reason,
Now see that noble and most supreme reason,
Like sweet bells jangled, out of tune and harsh:
Like sweet bells ringing, out of tune and harsh:
O, woe is me,
Oh, woe is me,
To have seen what I have seen, see what I see!
To have seen what I have seen, see what I see!
[Exit Ophelia, L.H.]
[Exit Ophelia, L.H.]
Re-enter King and Polonius.
Re-enter King and Polonius.
King. Love! his affections do not that way tend;
King. Love! His feelings don't go in that direction;
Nor what he spake, though it lack'd form a little,
Nor what he said, even if it was a bit unstructured,
Was not like madness. There's something in his soul,
Wasn't like madness. There's something in his soul,
O'er which his melancholy sits on brood;
Over which his sadness sits and lingers;
He shall with speed to England,
He will quickly go to England,
For the demand of our neglected tribute:
For the demand of our overlooked tribute:
Haply, the seas, and countries different,
Happily, the seas and different countries,
With variable objects, shall expel
With variable objects, will expel
This something-settled matter in his heart;
This matter was settled in his heart;
Whereon his brains still beating puts him thus
Where his brain is still working, making him feel this way.
From fashion of himself. What think you on't?
From fashion of himself. What do you think about it?
Pol. It shall do well: But yet I do believe
Pol. It will be fine: But I still believe
The origin and commencement of his grief
The start and beginning of his sadness
Sprung from neglected love. My lord, do as you please;
Sprung from neglected love. My lord, do what you want;
But, if you hold it fit, after the play,
But, if you think it's appropriate, after the play,
Let his queen mother all alone entreat him
Let his queen mother plead with him all by herself.
And I'll be placed, so please you, in the ear
And I'll be put, if it pleases you, in the ear.
Of all their conference. If she find him not,41
Of all their discussions. If she doesn't find him, 41
To England send him; or confine him where
To send him to England; or keep him locked up where
Your wisdom best shall think.
Your wisdom will think best.
King.
King.
It shall be so:
It will be done:
Madness in great ones must not unwatch'd go.
Madness in powerful people shouldn't go unnoticed.
[Exeunt, L.H.]
[Exit, L.H.]
56Enter Hamlet and a Player (R.H.)
56Enter Hamlet and a Player (R.H.)
Ham. (C.) Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of our players do, I had as lief42 the town-crier spoke my lines. Nor do not saw the air too much with your hands thus;43 but use all gently: for in the very torrent, tempest, and (as I may say) whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul, to hear a robustious perrywig-pated fellow44 tear a passion to tatters, to very rags, to split the ears of the groundlings,45 who, for the most part, are capable of nothing but inexplicable dumb shows and noise: I would have such a fellow whipped for o'erdoing Termagant;46 it out-herods Herod:47 Pray you, avoid it.
Ham. (C.) Please deliver the lines just like I taught you, smoothly and naturally: but if you just lip-sync it, like a lot of our actors do, I’d rather have the town crier say my lines. And don’t flail your arms around too much like this;43 instead, keep it subtle: because even in the middle of a storm, an intense moment, or (as I might say) a whirlwind of emotion, you need to have a control that makes it flow nicely. It really gets to me to hear some loud, over-the-top guy44 tear a scene apart, making it a mess, blasting the ears of the common folks,45 who usually can only handle confusing gestures and loud noises: I’d have such a person punished for overacting as Termagant;46 it out-herods Herod:47 Please, steer clear of that.
1st Play. (R.) I warrant your honour.
1st Play. (R.) I promise you, sir.
Ham. Be not too tame neither, but let your own discretion be your tutor; suit the action to the word, the word to the action; with this special observance, that you o'erstep not the modesty of nature: for any thing so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, 57 scorn her own image, and the very age and body of the time its form and pressure.48 Now, this overdone, or come tardy off,49 though it make the unskilful laugh, cannot but make the judicious grieve; the censure of which one50 must, in your allowance,51 o'erweigh a whole theatre of others. O, there be players that I have seen play, and heard others praise, and that highly, not to speak it profanely,52 that, neither having the accent of christians, nor the gait of christian, pagan, nor man, have so strutted and bellowed, that I have thought some of nature's journeymen had made men, and not made them well, they imitated humanity so abominably.
Ham. Don’t be too bland either; let your own judgment guide you. Match your actions to your words and your words to your actions, keeping in mind not to go beyond the bounds of nature. Anything exaggerated takes away from the purpose of acting, which has always been to hold, as it were, a mirror up to nature; to show virtue her own aspect, 57 to let scorn reflect on its own image, and to portray the very age and essence of the time. Now, when something is overdone or poorly timed, although it might make the unskilled laugh, it can’t help but make the discerning feel sad; the judgment of one discerning individual must outweigh a whole theatre full of others. Oh, there are actors I’ve seen perform, and heard others praise highly, not to mention it disrespectfully, who, lacking the mannerisms of Christians, pagans, or any man, have strutted and yelled in such a way that I thought some of nature's craftsmen had created men, but didn’t do it well, as they so atrociously imitated humanity.
[Crosses to R.]
[Walks over to R.]
1st Play. (L.) I hope we have reformed that indifferently53 with us.
1st Play. (L.) I hope we've made some improvements that don't leave anyone indifferent53 with us.
Ham. O, reform it altogether. And let those that play your clowns speak no more than is set down for them:54 for there be of them that will themselves laugh, to set on some quantity of barren spectators55 to laugh too; though, in the mean time, some necessary question56 of the play be then to be considered: that's villainous, and shows a most pitiful ambition in the fool that uses it. Go, make you ready.
Ham. Oh, just fix it completely. And let those who play your clowns say only what's written for them: 54 because there are some who will laugh themselves, just to get a few uninterested audience members 55 to laugh too; even though, in the meantime, some important issue 56 of the play needs to be considered: that’s terrible, and shows a sad kind of ambition in the fool who does it. Now, get ready.
[Exit Player, L.H.]
[Exit Player, L.H.]
Ham. What, ho, Horatio!
Ham. Hey, Horatio!
Enter Horatio (R.H.)
Enter Horatio (R.H.)
Hor. Here, sweet lord, at your service.
Hor. Here, dear lord, at your service.
58 Ham. Horatio, thou art e'en as just a man
58 Ham. Horatio, you are truly a just man
Ham.
Ham.
Nay, do not think I flatter;
No, don’t think I'm flattering;
For what advancement may I hope from thee,
For what progress can I expect from you,
That no revenue hast, but thy good spirits,
That you have no income, but your good spirits,
To feed and clothe thee? Why should the poor be flatter'd?
To feed and clothe you? Why should the poor be praised?
No, let the candied tongue lick absurd pomp;
No, let the sweet talk indulge in ridiculous showiness;
Where thrift may follow fawning. Dost thou hear?
Where saving may come after flattery. Do you hear me?
Since my dear soul59 was mistress of her choice,
Since my dear soul59 was in control of her own choices,
And could of men distinguish, her election
And if men could distinguish, her choice
Hath seal'd thee for herself: for thou hast been
Hath sealed you for herself: for you have been
As one, in suffering all, that suffers nothing;
As one, in pain for everyone, that feels nothing;
A man that fortune's buffets and rewards
A man who faces the ups and downs of luck
Has ta'en with equal thanks: and bless'd are those
Has taken with equal thanks: and blessed are those
Whose blood and judgment60 are so well co-mingled,
Whose blood and judgment60 are so perfectly blended,
That they are not a pipe for fortune's finger
That they are not just a tool for fate's whims
To sound what stop she please. Give me that man
To call whenever she wants. Give me that guy.
That is not passion's slave, and I will wear him
That is not a slave to passion, and I will take him.
In my heart's core, ay, in my heart of heart,
In my heart, yes, in the deepest part of my heart,
As I do thee.—Something too much of this.—
As I do for you.—This is too much of this.—
There is a play to-night before the king;
There’s a performance for the king tonight;
One scene of it comes near the circumstance
One scene of it relates to the situation
Which I have told thee of my father's death:
Which I have told you about my father's death:
I pr'ythee when thou seest that act a-foot,
I pray you, when you see that action happening,
Do not itself unkennel in one speech,
Do not reveal everything in one conversation,
It is a damned ghost that we have seen;
It is a cursed ghost that we have seen;
And my imaginations are as foul
And my thoughts are just as dark
As Vulcan's stithy.63 Give him heedful note:
As Vulcan's forge. __A_TAG_PLACEHOLDER_0__ Note:
For I mine eyes will rivet to his face;
For I will fix my eyes on his face;
And, after, we will both our judgments join
And after that, we will both share our judgments.
In censure of his seeming.64
In criticism of his appearance.__A_TAG_PLACEHOLDER_0__
[Horatio goes off, U.E.L.H.]
[Horatio leaves, U.E.L.H.]
March. Enter King and Queen, preceded by Polonius, Ophelia, Horatio, Rosencrantz, Guildenstern, Lords, Ladies, and Attendants. King and Queen sit (L.H.); Ophelia (R.H.)
March. Enter King and Queen, followed by Polonius, Ophelia, Horatio, Rosencrantz, Guildenstern, Lords, Ladies, and Attendants. King and Queen sit (L.H.); Ophelia (R.H.)
King. (L.) How fares our cousin Hamlet?
King. (L.) How is our cousin Hamlet doing?
Ham. (C.) Excellent, i'faith; of the cameleon's dish: I eat the air, promise-crammed: you cannot feed capons so.
Ham. (C.) Excellent, truly; like a chameleon's meal: I feast on the air, filled with empty promises: you can't feed chickens like that.
King. I have nothing with this answer, Hamlet; these words are not mine.65
King. I have nothing to do with this answer, Hamlet; those words are not mine.65
Pol. (L.C.) That did I, my lord; and was accounted a good actor.
Pol. (L.C.) I did that, my lord; and I was considered a good actor.
Ham. (C.) And what did you enact?
Ham. (C.) So, what did you do?
Pol. I did enact Julius Cæsar:68 I was killed i'the Capitol; Brutus killed me.
Pol. I played Julius Caesar:68 I was killed in the Capitol; Brutus killed me.
Ham. It was a brute part of him to kill so capital a calf there.—Be the players ready?
Ham. It was rough of him to kill such a valuable calf there.—Are the actors ready?
Ros. Ay, my lord; they stay upon your patience.69
Ros. Yeah, my lord; they're waiting for you to be patient.69
Queen. Come hither, my dear Hamlet, sit by me.
Queen. Come here, my dear Hamlet, sit next to me.
[Pointing to a chair by her side.]
[Pointing to a chair next to her.]
60Ham. No, good mother, here's metal more attractive.
60Ham. No, good mom, here's something much more appealing.
Pol. O, ho! do you mark that?
Pol. Oh, do you see this?
[Aside to the King.]
[To the King.]
Ham. Lady, shall I lie in your lap?
Ham. Would you like me to rest my head in your lap?
[Lying down at Ophelia's feet.]70
Lying at Ophelia's feet. __A_TAG_PLACEHOLDER_0__
Oph. (R.) You are merry, my lord.
Oph. (R.) You’re in good spirits, my lord.
Ham. O, your only jig-maker.71 What should a man do but be merry? for, look you, how cheerfully my mother looks, and my father died within these two hours.
Ham. Oh, you're the only one who can make me smile.71 What should a guy do but be happy? Just look at how cheerful my mom is, and my dad passed away just two hours ago.
Oph. Nay, 'tis twice two months, my lord.
Oph. No, it's been two months, my lord.
Oph. What means the play, my lord?
Oph. What does the play mean, my lord?
Ham. Miching mallecho;74 it means mischief.
Ham. Miching mallecho; __A_TAG_PLACEHOLDER_0__ it means trouble.
Oph. But what is the argument of the play?
Oph. But what’s the point of the play?
Enter a Player as Prologue (L.H.) on a raised stage.
Enter a Player as Prologue (L.H.) on an elevated stage.
Ham. We shall know by this fellow.
Ham. We'll find out through this guy.
Pro.
For.
For us, and for our tragedy,
For us, and for our tragedy,
Here stooping to your clemency,
Here, humbly asking for your mercy,
We beg your hearing patiently.
We ask for your patience.
[Exit, L.H.]
[Leave, L.H.]
61Ham. Is this a prologue, or the posy of a ring?75
61Ham. Is this an introduction, or the saying in a ring?75
Oph. 'Tis brief, my lord.
Oph. It's brief, my lord.
Ham. As woman's love.
Ham. As a woman's love.
Enter a King and a Queen (L.H.) on raised stage.
Enter a King and a Queen (L.H.) on elevated stage.
P. King. (R.) Full thirty times hath Phœbus' cart76 gone round
P. King. (R.) Full thirty times has the sun's chariot76 gone around
Since love our hearts, and Hymen did our hands,
Since love fills our hearts, and marriage joined our hands,
Unite commutual in most sacred bands.
Unite together in the most sacred bonds.
P. Queen. (L.) So many journeys may the sun and moon
P. Queen. (L.) The sun and moon have embarked on so many journeys
Make us again count o'er ere love be done!
Make us count again before love is over!
But, woe is me, you are so sick of late,
But, oh no, you’ve been feeling so unwell lately,
So far from cheer and from your former state,
So far from joy and from how you used to be,
That I distrust you. Yet, though I distrust,
That I don't trust you. Still, even though I don't trust,
Discomfort you, my lord, it nothing must.
It shouldn’t bother you, my lord, at all.
P. King. 'Faith, I must leave thee, love, and shortly too;
P. King. "Honestly, I have to leave you, my love, and soon too;
And thou shalt live in this fair world behind,
And you will live in this beautiful world behind,
Honour'd, belov'd; and, haply one as kind
Honored, loved; and maybe one who is just as kind
For husband shalt thou——
For husband you shall——
P. Queen.
P. Queen.
O, confound the rest!
Oh, forget the rest!
Such love must needs be treason in my breast:
Such love has to be a betrayal in my heart:
In second husband let me be accurst!
In a second husband, let me be cursed!
None wed the second but who kill'd the first.
None married the second except for the one who killed the first.
Ham. That's wormwood.
Ham. That's bitter.
[Aside to Horatio, R.]
[Aside to Horatio, R.]
P. King. I do believe you think what now you speak;
P. King. I really believe you mean what you’re saying now;
So think you thou wilt no second husband wed;
So you think you won't marry a second husband;
But die thy thoughts when thy first lord is dead.
But let your thoughts die when your first master is gone.
62P. Queen. Nor earth to me give food, nor heaven light!
62P. Queen. Neither the earth provide me with food, nor the heavens grant me light!
Sport and repose lock from me day and night!
Sport and rest are denied to me day and night!
Both here, and hence, pursue me lasting strife,
Both here and from now on, I face ongoing struggles,
If, once a widow, ever I be wife!
If I ever become a wife again after being a widow!
P. King. 'Tis deeply sworn.
P. King. It's deeply sworn.
Ham. If she should break it now!—
Ham. What if she breaks it now!—
[To Ophelia.]
[To Ophelia.]
P. King. Sweet, leave me here awhile;
P. King. Sweet, just leave me here for a bit;
My spirits grow dull, and fain I would beguile
My mood is sinking, and I wish I could escape.
The tedious day with sleep.
The long day with sleep.
[Reposes on a bank, R., and sleeps.]
[R. lies on the bank, resting, and sleeps.]
P. Queen.
P. Queen.
Sleep rock thy brain;
Sleep well;
And never come mischance between us twain!
And may nothing unfortunate ever come between us!
[Exit, L.H.]
[Exit, L.H.]
Ham. Madam, how like you this play?
Ham. Ma'am, what do you think of this play?
Queen. The lady doth protest too much, methinks.
Queen. The lady is protesting too much, I think.
Ham. O, but she'll keep her word.
Ham. Oh, but she'll stick to her promise.
King. Have you heard the argument?80 Is there no offence in't?
King. Have you heard the argument?80 Is there no offense in it?
Ham. No, no, they do but jest, poison in jest; no offence i'the world.
Ham. No, no, they’re just joking, playing with poison; it’s all in good fun, no offense in the world.
King. What do you call the play?
King. What’s the name of the play?
Ham. The mouse-trap.81 Marry, how? Tropically.82 This play is the image of a murder83 done in Vienna: Gonzago is the Duke's name; his wife, Baptista: you shall see anon;—'tis a knavish piece of work: but what of that? your majesty, and we that have free souls, it touches us not: Let the galled jade wince,84 our withers85 are unwrung.
Ham. The mouse trap.81 Seriously, how? In a way that’s over the top.82 This play is a depiction of a murder83 that happened in Vienna: Gonzago is the Duke's name; his wife is Baptista: you’ll see soon;—it's a shady piece of work: but what does it matter? Your majesty, and we who have free spirits, it doesn’t affect us: Let the injured horse flinch,84 our wounds85 are unhurt.
Enter Lucianus (L.H.)
Enter Lucianus (L.H.)
This is one Lucianus, nephew to the king.
This is Lucianus, the king's nephew.
63Oph. You are as good as a chorus,86 my lord.
63Oph. You’re just as good as a chorus, my lord.
Ham. I could interpret between you and your love, if I could see the puppets dallying.87 Begin, murderer; leave thy damnable faces, and begin. Come:—
Ham. I could understand what's happening between you and your love if I could see the puppets playing around. 87 Start, killer; drop your disgusting expressions, and get started. Come:—
—— The croaking raven
The croaking raven
Doth bellow for revenge.88
Calls out for revenge.__A_TAG_PLACEHOLDER_0__
Luc. Thoughts black, hands apt, drugs fit, and time agreeing;
Luc. Dark thoughts, quick hands, the right drugs, and the timing is perfect;
Confederate season, else no creature seeing;
Confederate season, otherwise no creature is seen;
With Hecat's ban thrice blasted, thrice infected,
With Hecat's ban hit three times, three times cursed,
Thy natural magick and dire property,
Your natural magic and serious power,
On wholesome life usurp90 immediately.
Take over wholesome life __A_TAG_PLACEHOLDER_0__ now.
[Pours the poison into the Sleeper's Ears.]
[Pours the poison into the Sleeper's Ears.]
Ham. He poisons him i' the garden for his estate. His name's Gonzago: the story is extant, and written in very choice Italian: You shall see anon how the murderer gets the love of Gonzago's wife.
Ham. He poisons him in the garden for his inheritance. His name is Gonzago; the story is available and written in beautiful Italian. You’ll see soon how the murderer wins the love of Gonzago’s wife.
King. Give me some light: away!
King. Give me some light: go away!
All. Lights, lights, lights!
All. Lights, lights, lights!
[Exeunt all, R. and L., but Hamlet and Horatio.]
[Everyone leaves except Hamlet and Horatio.]
Ham.
Ham.
The hart ungallèd play;
The untamed deer plays;
For some must watch, while some must sleep:
For some need to stay awake, while others need to sleep:
So runs the world away.—
So runs the world away.
O, good Horatio, I'll take the ghost's word for a thousand pounds. Didst perceive?
O, good Horatio, I'll trust the ghost's word for a thousand bucks. Did you notice?
Hor. (R.) Very well, my lord.
Hor. (R.) Sure thing, my lord.
Ham. (C.) Upon the talk of the poisoning.—
Ham. (C.) About the discussion of the poisoning.—
Hor. I did very well note him.
Hor. I really paid attention to him.
Ham. Ah, ah! come, some musick! come, the recorders!
Ham. Ah, ah! Come on, some music! Bring the recorders!
[Exit Horatio, R.H.]
[Exit Horatio, R.H.]
Enter Rosencrantz and Guildenstern (L.H.) Hamlet seats himself in the chair (R.)
Enter Rosencrantz and Guildenstern (L.H.) Hamlet sits in the chair (R.)
Guil. (L.C.) Good my lord, vouchsafe me a word with you.
Guil. (L.C.) Good my lord, may I have a word with you?
Ham. Sir, a whole history.
Ham. Sir, an entire story.
Guil. The king, sir,——
Guil. The king, dude,——
Ham. Ay, sir, what of him?
Ham. Yes, sir, what about him?
Guil. Is, in his retirement, marvellous distempered.92
Guil. Is, in his retirement, incredibly ill-tempered.92
Ham. With drink, sir?
Ham. Want a drink, sir?
Guil. No, my lord, with choler.
No, my lord, with anger.
Ham. Your wisdom should show itself more rich to signify this to the doctor; for, for me to put him to his purgation would perhaps plunge him into more choler.
Ham. You should show your wisdom more clearly to let the doctor know this; because if I make him go through his cleansing, it might just make him more upset.
Guil. Good my lord, put your discourse into some frame, and start not so wildly from my affair.
Guil. Please, my lord, focus your thoughts and don’t stray so far from my issue.
Ham. I am tame, sir:—pronounce.
Ham. I’m tame, sir:—speak.
Guil. The queen, your mother, in most great affliction of spirit, hath sent me to you.
Guil. The queen, your mother, is in deep distress and has sent me to see you.
Ham. You are welcome.
Ham. You're welcome.
Guil. Nay, good my lord, this courtesy is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother's commandment: if not, your pardon and my return shall be the end of my business.
Guil. No, my lord, this kindness isn't genuine. If you could give me a clear answer, I will follow your mother's request; if not, I’ll take my leave and that will be the end of my dealings here.
Ham. Sir, I cannot.
Ham. I can't, sir.
Guil. What, my lord?
Guil. What is it, my lord?
Ham. Make you a wholesome answer; my wit's diseased! But, sir, such answer as I can make, you shall command: or rather as you say, my mother: therefore no more, but to the matter: My mother, you say,—
Ham. I’ll give you a straightforward answer; my mind’s a bit scrambled! But, sir, whatever answer I can give, you can have it: or rather, as you mentioned, my mother: so let’s just get to the point: You say my mother—
65Ros. (Crosses to C.) Then thus she says: Your behaviour hath struck her into amazement and admiration.93
65Ros. (Crosses to C.) Then she says: Your behavior has left her amazed and impressed.93
Ham. O wonderful son, that can so astonish a mother! But is there no sequel at the heels of this mother's admiration?—impart.
Ham. Oh, what an amazing son, to impress a mother like this! But is there no follow-up to this mother's admiration?—share it.
Ros. She desires to speak with you in her closet, ere you go to bed.
Ros. She wants to talk to you in her room before you go to bed.
Ham. We shall obey, were she ten times our mother. Have you any further trade with us?94
Ham. We'll do as she says, even if she were our mother ten times over. Do you have any other business with us?94
Ros. My lord, you once did love me.
Ros. My lord, you used to love me.
[Rises and comes forward, C.]
[Rises and steps forward, C.]
Ros. (R.) Good my lord, what is your cause of distemper? you do, surely, bar the door of your own liberty, if you deny your griefs to your friend.96
Ros. (R.) Good my lord, what's bothering you? You’re definitely locking yourself away from your own freedom if you refuse to share your troubles with your friend.96
Ham. Sir, I lack advancement.
Ham. Sir, I need a promotion.
Ros. How can that be, when you have the voice of the king himself for your succession in Denmark?97
Ros. How can that be, when you have the king's own voice backing your claim to the throne in Denmark?97
Ham. Ay, sir, but While the grass grows,—the proverb is something musty.98
Ham. Yeah, sir, but While the grass grows,—that saying is a bit old-fashioned.98
Enter Horatio and Musicians (R.H.)
Enter Horatio and Musicians (R.H.)
O, the recorders:99—let me see one.—So; withdraw with you:—
O, the recorders:99—let me see one.—Alright; step back with you:—
[Exeunt Horatio and Musicians R.H. Guildenstern, after speaking privately to Rosencrantz, crosses behind Hamlet to R.H.]
[Exit Horatio and Musicians R.H. Guildenstern, after having a private conversation with Rosencrantz, moves behind Hamlet to R.H.]
66Why are you trying to take away my freedom, as if you want to trap me in a struggle?
Guil. (R.) O, my lord, if my duty be too bold, my love is too unmannerly.102
Guil. (R.) Oh, my lord, if my duty is too forward, my love is too rude.102
Ham. (C.) I do not well understand that. Will you play upon this pipe?
Ham. (C.) I don’t quite get that. Will you play this pipe?
Guil. My lord, I cannot.
Guil. My lord, I can't.
Ham. I pray you.
Ham. Please.
Guil. Believe me, I cannot.
Guil. Trust me, I can’t.
Ham. I do beseech you.
Ham. I urge you.
Ros. (L.) I know no touch of it, my lord.
Ros. (L.) I have no experience with it, my lord.
Ham. 'Tis as easy as lying: govern these ventages with your fingers and thumb, give it breath with your mouth, and it will discourse most eloquent music.103 Look you, these are the stops.
Ham. It's as easy as lying: control these openings with your fingers and thumb, give it air with your mouth, and it will produce the most eloquent music. 103 Look, these are the stops.
Guil. But these cannot I command to any utterance of harmony; I have not the skill.
Guil. But I can't make any of this sound harmonious; I just don't have the talent.
Ham. Why, look you now, how unworthy a thing you make of me! You would play upon me; you would seem to know my stops; you would pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass: and there is much music, excellent voice, in this little organ; yet cannot you make it speak. 'Sdeath, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me.104
Ham. Look at how unworthy you’re making me feel! You want to toy with me; you act like you know all my secrets; you want to pull out the heart of my mystery; you want to see me from my lowest note to the highest pitch: and there’s a lot of music, great voice, in this little organ; yet you can’t make it speak. Do you really think I'm easier to manipulate than a flute? Call me whatever instrument you want, but even if you can annoy me, you still can’t play me.104
[Crosses to L.H.]
[Walks over to L.H.]
Enter Polonius (R.H.)
Enter Polonius (R.H.)
Pol. (R.) My lord, the queen would speak with you, and presently.
Pol. (R.) My lord, the queen wants to speak with you right now.
67Ham. (C.) Do you see yonder cloud that's almost in shape of a camel?
67Ham. (C.) Do you see that cloud over there that looks a bit like a camel?
Pol. By the mass, and 'tis like a camel, indeed.
Pol. By the hell, it really does look like a camel.
Ham. Methinks it is like a weasel.
Ham. I think it’s like a weasel.
Pol. It is backed like a weasel.
It's sneaky like a snake.
Ham. Or like a whale?
Ham. Or like a whale?
Pol. Very like a whale.
Pol. Just like a whale.
Ham. Then will I come to my mother by and by. They fool me to the top of my bent.105 I will come by and by.
Ham. Then I'll go to my mom soon. They push me to my limits. I will come soon.
Pol. I will say so.
I will say that.
Ham. By and by is easily said.
Ham. It's easy to say "by and by."
[Exit Polonius, R.H.
[Exit Polonius, R.H.
Leave me, friends.
Leave me, guys.
[Exeunt Rosencrantz and Guildenstern, R.H.]
[Exit Rosencrantz and Guildenstern, R.H.]
'Tis now the very witching time of night,
'Tis now the very witching time of night,
When churchyards yawn, and hell itself breathes out
When graveyards open up, and hell itself exhales
Contagion to this world: Now could I drink hot blood,
Contagion to this world: Now I could drink hot blood,
Would quake to look on. Soft! now to my mother.
Would tremble to see. Soft! now to my mother.
O, heart, lose not thy nature; let not ever
O, heart, don't lose your nature; don't ever
The soul of Nero enter this firm bosom:
The soul of Nero enters this strong heart:
Let me be cruel, not unnatural;
Let me be harsh, not inhuman;
I will speak daggers to her, but use none.
I will talk harshly to her, but won’t actually hurt her.
[Exit]
[Log Out]
Scene 2.—A ROOM IN THE SAME.
Enter King, Rosencrantz and Guildenstern (R.H.)
Enter King, Rosencrantz, and Guildenstern (R.H.)
King. I like him not; nor stands it safe with us107
King. I don't like him, and it's not safe for us. A_TAG_PLACEHOLDER_0
To let his madness range. Therefore prepare you;
To let his madness run wild. So get ready;
I your commission will forthwith despatch,
I will send your commission right away,
And he to England shall along with you:
And he will go to England with you:
Arm you, I pray you, to this speedy voyage;
Arm yourself, I urge you, for this quick journey;
Which now goes too free-booted.
Which now goes too reckless.
|
Ros. Ros. Guil. Guil. |
We will haste us. We will hurry. |
[Cross behind the King, and exeunt Rosencrantz and Guildenstern, L.H.]
[Cross behind the King, and exit Rosencrantz and Guildenstern, L.H.]
Enter Polonius (R.H.)
Enter Polonius (R.H.)
Pol. My lord, he's going to his mother's closet:
Pol. My lord, he's heading to his mother's closet:
To hear the process;110 I'll warrant, she'll tax him home:
To hear the process;110 I bet she'll hold him accountable:
And, as you said, and wisely was it said,
And, as you said, and it was wisely said,
'Tis meet that some more audience than a mother,
'Tis meet that some more audience than a mother,
Since nature makes them partial, should o'erhear
Since nature makes them biased, should overhear
[Polonius crosses to L.H.]
[Polonius walks to L.H.]
I'll call upon you ere you go to bed,
I'll call you before you go to bed,
And tell you what I know.
And I'll share what I know.
King.
King.
Thanks, dear my lord.
Thanks, my dear lord.
[Exeunt Polonius, L.H., and King, R.H.]
[Exit Polonius, L.H., and King, R.H.]
Scene 3.—THE QUEEN'S CHAMBER.
Enter Queen and Polonius (L.H.)
Enter Queen and Polonius (L.H.)
Pol. He will come straight. Look, you lay home to him:112
Pol. He'll come directly. Look, you address him at home:112
Tell him his pranks have been too broad113 to bear with,
Tell him his pranks have been too much to handle.
And that your grace hath screen'd and stood between
And that your grace has protected and stood in the way
Pray you, be round with him.
Please be direct with him.
Queen.
Queen.
I'll warrant you;
I’ll bet you;
Fear me not:—withdraw, I hear him coming.
Fear not:—step back, I hear him approaching.
[Polonius hides himself, L.H.U.E.]
[Polonius is hiding, L.H.U.E.]
Enter Hamlet (R.)
Enter Hamlet (R.)
Ham. (R.C.) Now, mother, what's the matter?
Ham. (R.C.) So, Mom, what's going on?
Queen. (L.C.) Hamlet, thou hast thy father much offended.
Queen. (L.C.) Hamlet, you have deeply upset your father.
Ham. Mother, you have my father much offended.
Ham. Mom, you've really upset my dad.
Queen. Come, come, you answer with an idle tongue.
Queen. Come on, you're just talking nonsense.
Ham. Go, go, you question with a wicked tongue.
Ham. Go on, you ask with a wicked tongue.
Queen. Why, how now, Hamlet!
Queen. Hey, what's up, Hamlet!
Ham.
Ham.
What's the matter now?
What's wrong now?
Queen. Have you forgot me?
Queen. Have you forgotten me?
Ham.
Ham.
You are the queen, your husband's brother's wife;
You are the queen, your husband's brother's wife;
And—would it were not so!—you are my mother.
And—I wish it weren’t true!—you are my mother.
Queen. Nay, then, I'll set those to you that can speak.
Queen. No, then I’ll have those who can talk set against you.
Ham. Come, come, and sit you down; you shall not budge;
Ham. Come on, sit down; you can't get up;
You go not till I set you up a glass
You won't leave until I get you a drink.
Where you may see the inmost part of you.
Where you can see your true self.
Queen. What wilt thou do? thou wilt not murder me?
Queen. What are you going to do? You won't kill me, will you?
Help, help, ho!
Help, help, oh!
Pol. (Behind.) What, ho! help!
Hey! Help!
Ham.
Ham.
How now! a rat?116
What's up! A rat? __A_TAG_PLACEHOLDER_0__
[Draws.]
Draws.
Dead, for a ducat, dead!
Dead, for a dollar, dead!
[Hamlet rushes off behind the arras.]
[Hamlet rushes off behind the curtain.]
Pol. (Behind.)
Pol. (Back.)
O, I am slain!
Oh, I am defeated!
[Falls and dies.]
Falls and dies.
Queen. O me, what hast thou done?
Queen. Oh no, what have you done?
Ham. (Returning.)
Ham. (Returning.)
Nay, I know not:
No, I don't know:
Is it the king?
Is it the king now?
70Queen. O, what a rash and bloody deed is this!
70Queen. Oh, what a reckless and violent act this is!
Ham. A bloody deed!—almost as bad, good mother,
Ham. A gruesome act!—almost as terrible, good mother,
As kill a king, and marry with his brother.
As kill a king and marry his brother.
Queen. As kill a king!
Queen. As if to kill a king!
Ham.
Ham.
Ay, lady, 'twas my word.
Hey, lady, it was my word.
[Goes off behind the arras, and returns.]
[Exits behind the curtain and comes back.]
Thou wretched, rash, intruding fool, farewell!
You miserable, reckless, intrusive idiot, goodbye!
[To the dead body of Polonius, behind the arras.]
[i>To the dead body of Polonius, behind the curtain.]
I took thee for thy better.
I thought you would be better.
Leave wringing of your hands: Peace; sit you down,
Leave your worries behind: Calm down, sit down,
[To the Queen.]
[To the Queen.]
And let me wring your heart: for so I shall,
And let me squeeze your heart: that's what I'll do,
If it be made of penetrable stuff;
If it is made of something that can be pierced;
Queen. (Sits R.C.) What have I done, that thou dar'st wag thy tongue
Queen. (Sits R.C.) What have I done that makes you feel bold enough to speak?
In noise so rude against me?
In such rude noise against me?
Ham. (Seated L.C.)
Ham. (Seated L.C.)
Such an act,
Such a move,
That blurs the grace and blush of modesty;
That smudges the elegance and blush of modesty;
Calls virtue, hypocrite; takes off the rose
Calls virtue a hypocrite; takes off the rose
From the fair forehead of an innocent love,
From the smooth forehead of a pure love,
As false as dicer's oaths: O, such a deed
As false as a gambler's vows: Oh, what an act!
As from the body of contraction plucks
As from the body of contraction plucks
A rhapsody of words.—
A flow of words.
Ah, me, that act!
Oh, that act!
Queen.
Queen.
Ah me, what act?
Oh no, what happened?
Ham. Look here, upon this picture, and on this,
Ham. Take a look at this picture, and at this one,
The counterfeit presentment121 of two brothers.
The fake appearance of two brothers.
See, what a grace was seated on this brow;
See how much grace is present on this brow;
An eye like Mars, to threaten and command;
An eye like Mars, to intimidate and lead;
New-lighted on a heaven-kissing hill;
Newly lit on a hill;
A combination, and a form, indeed,
A combination and a type, indeed,
Where every god did seem to set his seal,
Where every god seemed to put his mark,
To give the world assurance of a man;
To assure the world of a man;
This was your husband.—Look you now, what follows:
This was your husband. Now, take a look at what comes next:
Here is your husband; like a mildew'd ear,
Here is your husband; like a moldy ear,
Blasting his wholesome brother.124 Have you eyes?
Blasting his wholesome brother.124 Can you even see?
Could you on this fair mountain leave to feed,
Could you on this beautiful mountain go to eat,
You cannot call it love; for, at your age
You can't call it love; because, at your age
The hey-day in the blood126 is tame, it's humble,
The hey-day in the blood126 is gentle, it's modest,
And waits upon the judgment: And what judgment
And waits for the judgment: And what judgment
Would step from this to this?
Would you move from this to this?
O shame! where is thy blush? Rebellious hell,
O shame! Where is your blush? Rebellious hell,
To flaming youth let virtue be as wax,
To fiery youth, let virtue be like wax,
And melt in her own fire.
And melt in her own flames.
Queen. O, Hamlet, speak no more:
Queen. O, Hamlet, stop talking:
Thou turn'st mine eyes into my very soul;
You turn my gaze into my very soul;
And there I see such black and grainèd spots
And there I see such dark and grained spots
Ham.
Ham.
Nay, but to live
No, but to live
Queen. O, speak to me no more;
Queen. Oh, don't speak to me anymore;
No more, sweet Hamlet!
No more, dear Hamlet!
Ham.
Ham.
A murderer and a villain:
A killer and a villain:
A slave that is not twentieth part the tythe
A slave that is not one-twentieth of the tithe
A cutpurse of the empire and the rule;
A pickpocket of the empire and the law;
That from a shelf the precious diadem stole,
That from a shelf the precious crown took,
Queen.
Queen.
No more!
No more!
Ham.
Ham.
A king
A monarch
Of shreds and patches.132
Of scraps and pieces.__A_TAG_PLACEHOLDER_0__
Enter Ghost, R.
Enter Ghost, R.
Save me [Starts from his chair], and hover o'er me with your wings,
Save me [Starts from his chair], and hover over me with your wings,
You heavenly guards! What would your gracious figure?
You heavenly guardians! What would your kind appearance be?
Queen. Alas, he's mad!
Queen. Sadly, he's crazy!
[Rising.]
[Awakening.]
Ham. (L.) Do you not come your tardy son to chide,
Ham. (L.) Aren't you here to scold your slow son?
The important acting of your dread command?
The important role of your terrifying command?
O, say!
Oh, say!
Ghost. (R.) Do not forget: This visitation
Ghost. (R.) Remember: This visit
Is but to whet thy almost blunted purpose.
Is just to sharpen your almost dulled determination.
But, look, amazement on thy mother sits:
But look, your mother is amazed:
O, step between her and her fighting soul.
O, step between her and her fierce spirit.
Speak to her Hamlet.
Talk to her, Hamlet.
Ham.
Ham.
How is it with you, lady?
How's it going, lady?
73Queen. Alas, how is't with you,
Queen. Alas, how are you,
That you do bend your eye on vacancy,
That you stare off into space,
And with the incorporal air do hold discourse?
And do we communicate with the invisible air?
Forth at your eyes your spirits wildly peep.
Forth from your eyes, your spirits wildly glance.
O gentle son,
O kind son,
[Crosses to Hamlet.]
[Moves to Hamlet.]
Upon the heat and flame of thy distemper
Upon the heat and flame of your anger
Ham. On him, on him!—Look you, how pale he glares!
Ham. Over there, over there!—Look how pale he looks!
His form and cause conjoin'd, preaching to stones,
His shape and purpose combined, preaching to rocks,
Lest with this piteous action, you convert
Lest with this sad action, you change
Will want true colour; tears perchance, for blood.
Will want real color; perhaps tears, for blood.
Queen. To whom do you speak this?
Queen. Who are you speaking to?
Ham.
Ham.
Do you see nothing there?
Do you see anything there?
Ham. Nor did you nothing hear?
Ham. Did you not hear anything?
Queen.
Queen.
No, nothing but ourselves.
No, just us.
Ham. Why, look you there! look, how it steals away!
Ham. Look at that! See how it just slips away!
[Ghost crosses to L.]
[Ghost moves to L.]
Look, where he goes, even now, out at the portal!
Look, there he goes, even now, at the entrance!
[Exit Ghost, L.H. Hamlet sinks into chair C. The Queen falls on her knees by his side.]
[Exit Ghost, L.H. Hamlet sinks into a chair C. The Queen falls to her knees beside him.]
Queen. This is the very coinage of your brain:
Queen. This is your creation:
This bodiless creation ecstasy
This ecstatic creation without body
Is very cunning in.139
Is very clever in.__A_TAG_PLACEHOLDER_0__
74Ham. Ecstasy!
74Ham. Bliss!
My pulse, as yours, doth temperately keep time,
My pulse, like yours, beats steadily.
And makes as healthful music: It is not madness
And creates healthy music: It’s not madness.
That I have uttered: bring me to the test,
That I've said: put me to the test,
And I the matter will re-word; which madness
And I will rephrase the matter; which madness
Would gambol from.140 Mother, for love of grace,
Would play around from.140 Mom, for the sake of kindness,
[Rising.]
[Ascending.]
Lay not that flattering unction to your soul,
Lay not that flattering unction to your soul,
That not your trespass, but my madness speaks:
That’s not your fault, but my craziness is what’s talking:
It will but skin and film141 the ulcerous place,
It will just cover the ulcerated area with a thin layer.
Whiles rank corruption, mining all within,
Whiles rank corruption, mining all within,
Infects unseen. Confess yourself to heaven;
Infects unseen. Confess to God;
Repent what's past; avoid what is to come.
Repent for the past; steer clear of what’s ahead.
Queen. O, Hamlet! thou hast cleft my heart in twain.
Queen. Oh, Hamlet! You’ve broken my heart in two.
Ham. O, throw away the worser part of it,
Ham. Oh, just get rid of the worse part of it,
And live the purer with the other half.
And live more purely with the other half.
Good night: but go not to my uncle's bed;
Good night; but don't go to my uncle's bed;
[Raising the Queen.]
[Raising the Queen.]
Assume a virtue, if you have it not.
Assume a virtue, even if you don’t have it.
Once more, good night!
Good night again!
And when you are desirous to be bless'd,
And when you want to be blessed,
[Pointing to Polonius.]
[Pointing to Polonius.]
I do repent:
I regret it:
I will bestow him, and will answer well
I will give him what he needs, and I will respond appropriately.
The death I gave him. So, again, good night.
The death I caused him. So, once more, good night.
[Exit Queen, R.H.]
[Exit Queen, R.H.]
I must be cruel, only to be kind:
I have to be harsh just to be nice:
Thus bad begins, and worse remains behind.
Thus bad begins, and worse is yet to come.
[Exit Hamlet behind the arras, L.H.U.E.]
[Exit Hamlet behind the curtain, L.H.U.E.]
END OF ACT THIRD.
Notes
Act III
Act 3
III.1 Forward] Disposed, inclinable.
__A_TAG_PLACEHOLDER_0__ Forward] Disposed, willing.
III.3 O'er-raught on the way:] Reached or overtook.
III.3 Passed along the way:] Reached or caught up to.
III.4 Have closely sent] i.e., privately sent.
__A_TAG_PLACEHOLDER_0__ Have closely sent] i.e., privately sent.
III.5 May here affront Ophelia:] To affront is to come face to face—to confront.
III.5 May here confront Ophelia:] To confront is to come face to face—to confront.
III.6 Lawful espials,] Spies justifiably inquisitive. From the French, espier.
III.6 Lawful spies,] Curiously justified. From the French, espier.
III.7 Too much prov'd,] Found by too frequent experience.
III.7 Too much proven,] Discovered through repeated experiences.
III.8 To be, or not to be, that is the question:] Hamlet is deliberating whether he should continue to live, or put an end to his existence.
III.8 To be, or not to be, that is the question:] Hamlet is thinking about whether he should keep living or end his life.
III.9 Or to take arms against a sea of troubles,] A sea of troubles among the Greeks grew into a proverbial usage; so that the expression figuratively means, the troubles of human life, which flow in upon us, and encompass us round like a sea.
III.9 Or to take up arms against a sea of troubles,] A sea of troubles among the Greeks became a common saying; it figuratively refers to the challenges of human life that wash over us and surround us like an ocean.
III.10 This mortal coil,] Coil is here used in each of its senses, that of turmoil or bustle, and that which entwines or wraps round.
III.10 This human life,] Coil is used here in both meanings, that of chaos or activity, and that which twists or encircles.
III.11 Must give us pause:] i.e., occasion for reflection.
III.11 Should make us think:] that is, a reason to reflect.
There's the respect
That makes calamity of so long life;] The consideration that
makes the evils of life so long submitted to, lived under.
There's the respect
That makes the struggles of life drag on for so long; The thoughtfulness that leads to enduring the hardships of life over time.
III.13 The whips and scorns of time,] Those sufferings of body and mind, those stripes and mortifications to which, in its course, the life of man is subjected.
III.13 The struggles and pains of life, The physical and mental suffering, the hardships and humiliations that, throughout its course, a person faces.
III.14 Contumely,] Contemptuousness, rudeness.
__A_TAG_PLACEHOLDER_0__ Contumely, Disrespect, rudeness.
III.15 His quietus make] Quietus means the official discharge of an account: from the Latin. Particularly in the Exchequer accounts, where it is still current. Chiefly used by authors in metaphorical senses.
III.15 His quietus make] Quietus refers to the official closure of an account: derived from Latin. It is especially relevant in Exchequer accounts, where the term is still in use. Primarily utilized by writers in metaphorical contexts.
III.16 A bare bodkin?] Bodkin was an ancient term for a small dagger. In the margin of Stowe's Chronicle it is said that Cæsar was slain with bodkins.
III.16 A small dagger?] "Bodkin" was an old word for a small dagger. In the margin of Stowe's Chronicle, it's mentioned that Cæsar was killed with bodkins.
III.17 Who would fardels bear,] Fardel is a burden. Fardellus, low Latin.
III.17 Who would carry burdens,] Burden is a load. Fardellus, low Latin.
III.18 From whose bourn] i.e., boundary.
__A_TAG_PLACEHOLDER_0__ From whose boundary
III.19 No traveller returns,] The traveller whom Hamlet had seen, though he appeared in the same habit which he had worn in his life-time, was nothing but a shadow, "invulnerable as the air," and, consequently, incorporeal. The Ghost has given us no account of the region from whence he came, being, as he himself informed us, "forbid to tell the secrets of his prison-house."—Malone.
III.19 No traveler returns, The traveler Hamlet saw, although he looked the same as he did in life, was nothing but a shadow, "invulnerable as the air," and, therefore, incorporeal. The Ghost hasn’t shared any details about the place he came from, as he told us, "forbidden to reveal the secrets of his prison-house."—Malone.
III.20 Thus conscience does make cowards of us all;] A state of doubt and uncertainty, a conscious feeling or apprehension, a misgiving "How our audit stands."
III.20 So conscience makes cowards of all of us;] A state of doubt and uncertainty, a conscious feeling or worry, a misgiving "How our audit stands."
III.21 Of great pith and moment,] i.e., of great vigour and importance.
III.21 Meaning it is very significant and powerful.
With this regard, their currents turn away,
And lose the name of action.]
With this in mind, their efforts drift away,
And lose the meaning of action.
From this sole consideration have their drifts diverted, and lose the character and name of enterprise.
From this single focus, their aims become off track, and they lose the character and identity of true enterprise.
III.23 Soft you now!] A gentler pace! have done with lofty march!
III.23 Hold on now!] A smoother pace! Stop with the grand march!
III.24 Nymph, in thy orisons] i.e., in thy prayers. Orison is from oraison—French.
III.24 Nymph, in your prayers] i.e., in your prayers. Orison comes from oraison—French.
III.25 If you be honest and fair, your honesty should admit no discourse to your beauty.] i.e., if you really possess these qualities, chastity and beauty, and mean to support the character of both, your honesty should be so chary of your beauty, as not to suffer a thing so fragile to entertain discourse, or to be parleyed with.
III.25 If you are honest and fair, your honesty should not allow any discussion about your beauty.] i.e., if you truly have these qualities, purity and beauty, and plan to uphold the reputation of both, your honesty should be so careful with your beauty that it doesn’t allow something so delicate to be talked about or negotiated.
The lady interprets the words otherwise, giving them the turn best suited to her purpose.
The lady understands the words differently, twisting them in a way that best fits her agenda.
III.26 His likeness:] Shakespeare and his contemporaries frequently use the personal for the neutral pronoun.
III.26 His likeness:] Shakespeare and his contemporaries often use the personal pronoun instead of a neutral one.
III.27 Inoculate our old stock, but we shall relish of it:] So change the original constitution and properties, as that no smack of them shall remain. "Inoculate our stock" are terms in gardening.
III.27 Inoculate our old stock, but we shall enjoy it:] So alter the original constitution and traits so that no trace of them remains. "Inoculate our stock" refers to gardening terms.
III.28 With more offences at my beck] That is, always ready to come about me—at my beck and call.
III.28 With more offenses at my command] That is, always ready to surround me—at my command and call.
III.29 Than I have thoughts to put them in, &c.] "To put a thing into thought," Johnson says, is "to think on it."
III.29 More than I have thoughts to express them, etc.] "To put something into thought," Johnson says, is "to think about it."
III.30 I have heard of your paintings,] These destructive aids of beauty seem, in the time of Shakespeare, to have been general objects of satire.
III.30 I’ve heard about your paintings, These harmful tools of beauty seem to have been common targets of satire during Shakespeare's time.
III.31 Heaven hath given you one face, and you make yourselves another:] i.e., Heaven hath given you one face, and you disfigure his image by making yourself another.
III.31 Heaven has given you one face, and you create another for yourself: i.e., Heaven has given you one face, and you distort that image by making another one for yourself.
III.32 You jig, you amble, and you lisp,] This is an allusion to the manners of the age, which Shakespeare, in the spirit of his contemporaries, means here to satirise.
III.32 You dance, you stroll, and you speak with a lisp,] This refers to the behaviors of the time, which Shakespeare, like his peers, intends to mock.
III.33 Make your wantonness your ignorance.] You mistake by wanton affectation, and pretend to mistake by ignorance.
III.33 Turn your indulgence into your ignorance.] You err by indulgent pretense and act as if you’re confused by ignorance.
III.34 All but one shall live;] One is the king.
III.34 Everyone except one will live;] One is the king.
III.35 To a nunnery, go. Exit Hamlet.] There is no doubt that Hamlet's attachment to Ophelia is ardent and sincere, but he treats her with apparent severity because he is aware that Ophelia has been purposely thrown in his way; that spies are about them; and that it is necessary for the preservation of his life, to assume a conduct which he thought would be attributed to madness only.
III.35 To a convent, go. Exit Hamlet. There’s no doubt that Hamlet really cares for Ophelia, but he behaves harshly towards her because he knows she’s been placed deliberately in his path; that there are spies around them; and that, to protect his life, he needs to act in a way that he thinks will only be seen as madness.
III.36 The expectancy and rose of the fair state,] The first hope and fairest flower. "The gracious mark o' the land."
III.36 The anticipation and beauty of the fair state, The initial hope and the most beautiful flower. "The kind mark of the land."
III.37 Glass of fashion] Speculum consuetudinis.—Cicero.
__A_TAG_PLACEHOLDER_0__ Trendy Glass] Mirror of habit.—Cicero.
III.38 The mould of form,] The cast, in which is shaped the only perfect form.
III.38 The mold of form,] The cast, in which the only perfect shape is formed.
III.39 Musick vows,] Musical, mellifluous.
__A_TAG_PLACEHOLDER_0__ Music vows, Musical, melodic.
III.40 Be round with him;] i.e., plain with him—without reserve.
III.40 Be straightforward with him;] i.e., honest with him—no holds barred.
III.41 If she find him not,] Make him not out.
III.41 If she doesn't find him,] Don't let him be found.
III.42 As lief] As willingly.
__A_TAG_PLACEHOLDER_0__ As willing
III.43 Thus;] i.e., thrown out thus.
__A_TAG_PLACEHOLDER_0__ So;] that is, thrown out this way.
III.44 Robustious perrywig-pated fellow] This is a ridicule on the quantity of false hair worn in Shakespeare's time, for wigs were not in common use till the reign of Charles the Second. Robustious means making an extravagant show of passion.
III.44 Boisterous wig-wearing guy] This mocks the amount of fake hair people wore in Shakespeare's time, since wigs weren't commonly used until the reign of Charles the Second. Boisterous means putting on an extravagant display of emotion.
III.45 The ears of the groundlings,] The meaner people appear to have occupied the pit of the theatre (which had neither floor nor benches in Shakespeare's time), as they now sit in the upper gallery.
III.45 The ears of the groundlings,] The common folks seem to have taken the pit of the theater (which had no floor or seats in Shakespeare's time), just as they now sit in the upper gallery.
III.46 O'er-doing Termagant;] The Crusaders, and those who celebrated them, confounded Mahometans with Pagans, and supposed Mahomet, or Mahound, to be one of their deities, and Tervagant or Termagant, another. This imaginary personage was introduced into our old plays and moralities, and represented as of a most violent character, so that a ranting actor might always appear to advantage in it. The word is now used for a scolding woman.
III.46 Overdoing Termagant;] The Crusaders and their supporters mixed up Muslims with Pagans, mistakenly believing that Muhammad, or Mahound, was one of their gods, and Tervagant or Termagant was another. This fictional figure made its way into our old plays and moral stories, portrayed as very aggressive, making it easy for a loud actor to shine in that role. Today, the term is used to describe a nagging woman.
III.47 It out-herods Herod:] In all the old moralities and mysteries this personage was always represented as a tyrant of a very violent temper, using the most exaggerated language. Hence the expression.
III.47 It out-herods Herod: In all the old morality plays and mysteries, this character was always shown as a tyrant with a very violent temper, using the most extreme language. That's where the expression comes from.
III.48 The very age and body of the time its form and pressure.] i.e., to delineate exactly the manners of the age, and the particular humours of the day—pressure signifying resemblance, as in a print.
III.48 The specific characteristics and context of the era shape its form and impact.] i.e., to clearly describe the behaviors of the time and the unique traits of the day—impact referring to resemblance, as in a print.
III.49 Come tardy off,] Without spirit or animation; heavily, sleepily done.
III.49 Come late,] Without energy or excitement; done sluggishly, as if half-asleep.
III.50 The censure of which one] i.e., the censure of one of which.
III.50 The criticism of which one] i.e., the criticism of one of which.
III.51 Your allowance,] In your approbation.
__A_TAG_PLACEHOLDER_0__ Your allowance, In your approval.
III.52 Not to speak it profanely,] i.e., irreverently, in allusion to Hamlet's supposition that God had not made such men, but that they were only the handy work of God's assistants.
III.52 Not to say it disrespectfully,] i.e., irreverently, referring to Hamlet's idea that God didn't create these men; they were merely the products of God's helpers.
III.53 Indifferently] In a reasonable degree.
__A_TAG_PLACEHOLDER_0__ Indifferently] To some extent.
III.54 Speak no more them is set down for them:] Shakespeare alludes to a custom of his time, when the clown, or low comedian, as he would now be called, addressing the audience during the play, entered into a contest of raillery and sarcasm with such spectators as chose to engage with him.
III.54 Don't say more than what is written for them:] Shakespeare refers to a tradition of his time, where the clown, or what we would now call a low comedian, would interact with the audience during the performance, entering into a playful exchange of banter and sarcasm with any spectators who wanted to join in.
III.55 Barren spectators] i.e., dull, unapprehensive spectators.
__A_TAG_PLACEHOLDER_0__ Uninterested spectators] i.e., dull, unapprehensive spectators.
III.56 Question] Point, topic.
__A_TAG_PLACEHOLDER_0__ Question] Point, topic.
III.57 Cop'd withal.] Encountered with.
Encountered.
III.58 Pregnant hinges of the knee,] i.e., bowed or bent: ready to kneel where thrift, that is, thriving, or emolument may follow sycophancy.
III.58 Pregnant hinges of the knee, i.e. bent or bowed: ready to kneel where thrift, meaning prosperity or profit, may come from flattery.
III.59 Since my dear soul] Dear is out of which arises the liveliest interest.
III.59 Since my dear soul] Dear is where the most vibrant interest comes from.
III.60 Whose blood and judgment] Dr. Johnson says that according to the doctrine of the four humours, desire and confidence were seated in the blood, and judgment in the phlegm, and the due mixture of the humours made a perfect character.
III.60 Whose blood and judgment] Dr. Johnson states that based on the theory of the four humors, desire and confidence were found in the blood, while judgment was linked to phlegm, and the right balance of these humors created an ideal character.
III.61 The very comment of thy soul] The most intense direction of every faculty.
III.61 The most profound reflection of your soul] The strongest focus of every ability.
III.62 Occulted guilt do not itself unkennel] Stifled, secret guilt, do not develope itself.
III.62 Suppressed guilt does not reveal itself] Stifled, hidden guilt does not develop on its own.
III.63 As Vulcan's stithy.] A stithy is the smith's shop, as stith is the anvil.
III.63 Like Vulcan's forge.] A forge is the blacksmith's workshop, and a stith is the anvil.
III.64 In censure of his seeming.] In making our estimate of the appearance he shall put on.
III.64 In criticism of his appearance.] In judging the way he will look.
III.65 I have nothing with this answer; these words are not mine.] i.e., they grow not out of mine: have no relation to anything said by me.
III.65 I don’t own this answer; these words aren’t my own.] i.e., they don’t come from me: they’re not connected to anything I’ve said.
III.66 No, nor mine, now.] They are now anybody's. Dr. Johnson observes, "a man's words, says the proverb, are his own no longer than while he keeps them unspoken."
III.66 No, nor mine, now.] They now belong to anyone. Dr. Johnson notes, "a man's words, as the saying goes, are only his own as long as he keeps them to himself."
III.67 You played once in the university, you say?] The practice of acting Latin plays in the universities of Oxford and Cambridge is very ancient, and continued to near the middle of the last century.
III.67 You acted in university once, is that right? The tradition of performing Latin plays at the universities of Oxford and Cambridge is quite old and continued until around the middle of the last century.
III.68 I did enact Julius Cæsar:] A Latin play on the subject of Cæsar's death, was performed at Christ-church, Oxford, in 1582.
III.68 I performed Julius Caesar: A Latin play about Caesar's death was staged at Christ Church, Oxford, in 1582.
III.69 They stay upon your patience.] Patience is here used for leisure.
III.69 They rely on your patience.] Patience is used here to mean leisure.
III.70 Lying down at Ophelia's feet.] To lie at the feet of a mistress during any dramatic representation, seems to have been a common act of gallantry.
III.70 Lying down at Ophelia's feet.] Lying at the feet of a lady during any dramatic performance seems to have been a common gesture of chivalry.
III.71 Jig-maker,] Writer of ludicrous interludes. A jig was not in Shakespeare's time only a dance, but a ludicrous dialogue in metre; many historical ballads were also called jigs.
III.71 Jig-maker,] Writer of silly interludes. A jig in Shakespeare's time wasn't just a dance, but also a funny dialogue written in verse; many historical ballads were also referred to as jigs.
III.72 For I'll have a suit of sables.] Wherever his scene might be, the customs of his country were ever in Shakespeare's thoughts. A suit trimmed with sables was in our author's own time the richest dress worn by men in England. By the Statute of Apparel, 24 Henry VIII., c. 13, (article furres), it is ordained, that none under the degree of an Earl may use sables.
III.72 Because I'll have a coat trimmed with sables.] No matter where his setting was, the traditions of his country were always on Shakespeare's mind. A coat trimmed with sables was, in Shakespeare's time, the most lavish attire worn by men in England. According to the Statute of Apparel, 24 Henry VIII., c. 13, (article furres), it is stated that no one below the rank of an Earl may wear sables.
III.73 He must build churches, then.] Such benefactors to society were sure to be recorded by means of the feast day on which the patron saints and founders of churches were commemorated in every parish. This custom has long since ceased.
III.73 He must build churches, then.] People like him who do good for society were always noted on the feast day when the patron saints and founders of churches were honored in each parish. This tradition has long been forgotten.
III.74 Miching mallecho;] To mich is a provincial word, signifying to lie hid, or to skulk, or act by stealth. It was probably once generally used. Mallecho is supposed to be corrupted from the Spanish Malechor, which means a poisoner.
III.74 Miching mallecho;] To mich is a regional term that means to hide, to sneak around, or to act secretly. It likely used to be common. Mallecho is thought to be a corrupted form of the Spanish Malechor, which means a poisoner.
III.75 The posy of a ring?] Such poetry as you may find engraven on a ring.
III.75 A bunch of flowers on a ring?] It’s the kind of poetry you might see engraved on a ring.
III.76 Phœbus' cart] A chariot was anciently called a cart.
III.76 Phœbus' cart] A chariot was called a cart in ancient times.
III.77 Tellus' orbèd ground,] i.e., the globe of the earth. Tellus is the personification of the earth, being described as the first being that sprung from Chaos.
III.77 Tellus' orbèd ground,] i.e., the globe of the earth. Tellus is the personification of the earth, described as the first being that emerged from Chaos.
III.78 My operant powers their functions leave to do:] i.e., my active energies cease to perform their offices.
III.78 My active abilities leave their tasks undone:] i.e., my energies stop doing what they need to.
III.79 What we do determine, oft we break.] Unsettle our most fixed resolves.
III.79 What we plan, we often end up breaking. Unsettle our strongest decisions.
III.80 The argument?] The subject matter.
__A_TAG_PLACEHOLDER_0__ The argument?] The topic.
III.81 The mouse-trap.]
__A_TAG_PLACEHOLDER_0__ The mouse trap.
He calls it the mouse-trap, because it is the thing,
He calls it the mouse trap because it is the thing,
In which he'll catch the conscience of the king.
In which he will get the king to face his conscience.
III.82 Tropically.] i.e., figuratively.
__A_TAG_PLACEHOLDER_0__ Tropically.] i.e., metaphorically.
III.83 The image of a murder,] i.e., the lively portraiture, the correct and faithful representation of a murder, &c.
III.83 The depiction of a murder, i.e., the vivid portrayal, the accurate and true representation of a murder, &c.
III.84 Let the galled jade wince,] A proverbial saying.
III.84 Let the hurt horse wince, A common saying.
III.85 Our withers are unwrung.] Withers is the joining of the shoulder bones at the bottom of the neck and mane of a horse. Unwrung is not pinched.
III.85 Our withers are unwrung.] Withers refer to where the shoulder bones connect at the base of a horse's neck and mane. Unwrung means not pinched.
III.86 You are as good as a chorus,] The persons who are supposed to behold what passes in the acts of a tragedy, and sing their sentiments between the acts.
III.86 You are just like a chorus,] The people who are meant to watch what happens in the scenes of a tragedy and share their feelings between the scenes.
The use to which Shakespeare converted the chorus, may be seen in King Henry V.
The way Shakespeare used the chorus can be seen in King Henry V.
III.87 I could interpret between you and your love, if I could see the puppets dallying.] This refers to the interpreter, who formerly sat on the stage at all puppet shows, and explained to the audience. The puppets dallying are here made to signify to the agitations of Ophelia's bosom.
III.87 I could translate between you and your love if I could see the puppets playing around.] This refers to the interpreter, who used to sit on stage at all puppet shows and explained things to the audience. The puppets playing around here symbolize the turmoil in Ophelia's heart.
The croaking raven
The cawing raven
Doth bellow for revenge.]
Calls for revenge.
i.e., begin without more delay; for the raven, foreknowing the deed, is already croaking, and, as it were, calling out for the revenge which will ensue.
i.e., start right away; because the raven, knowing what’s going to happen, is already cawing, almost calling out for the revenge that will follow.
III.89 Midnight weeds] The force of the epithet midnight, will be best displayed by a corresponding passage in Macbeth:
III.89 Midnight weeds] The impact of the term midnight will be best shown by a related excerpt from Macbeth:
"Root of hemlock, digg'd i' the dark."
"Root of hemlock, dug in the dark."
III.90 Usurp] Encroach upon.
__A_TAG_PLACEHOLDER_0__ Usurp] Take over.
III.91 Let the strucken deer go weep,] Shakespeare, in As you like it, in allusion to the wounded stag, speaks of the big round tears which cours'd one another down his innocent nose in piteous chase. In the 13th song of Drayton's Polyolbion, is a similar passage—"The harte weepeth at his dying; his tears are held to be precious in medicine."
III.91 Let the wounded deer cry,] Shakespeare, in As you like it, refers to the injured stag, mentioning the big round tears that flowed down his innocent nose in a sorrowful stream. In the 13th song of Drayton's Polyolbion, there's a similar line—"The deer weeps as it dies; its tears are considered valuable in medicine."
III.92 Marvellous distempered.] i.e., discomposed.
__A_TAG_PLACEHOLDER_0__ Wonderful chaos.] i.e., unsettled.
III.93 Admiration.] i.e., wonder.
__A_TAG_PLACEHOLDER_0__ Admiration. i.e. awe.
III.94 Trade with us?] i.e. Occasion of intercourse.
__A_TAG_PLACEHOLDER_0__ Wanna trade?] i.e. Opportunity for interaction.
III.95 By these pickers and stealers.] i.e., by these hands. The phrase is taken from the Church catechism, where, in our duty to our neighbour, we are taught to keep our hands from picking and stealing.
III.95 By these pickers and stealers.] i.e., by these hands. The phrase is taken from the Church catechism, where, in our duty to our neighbor, we are taught to keep our hands from picking and stealing.
III.96 You do freely bar the door of your own liberty, if you deny your griefs to your friend.] By your own act you close the way against your own ease, and the free discharge of your griefs, if you open not the source of them to your friends.
III.96 You limit your own freedom when you hide your troubles from your friend.] By your own choice, you block the path to your own comfort and the open expression of your feelings if you don't share the source of your pain with your friends.
III.97 You have the voice of the king himself for your succession in Denmark?] Though the crown was elective, yet regard was paid to the recommendation of the preceding prince, and preference given to royal blood, which, by degrees, produced hereditary succession.
III.97 Do you think you have the support of the king himself for your claim in Denmark? Even though the crown was chosen through election, the suggestions of the previous king were taken into account, and royal lineage was favored, which eventually led to hereditary succession.
III.98 "While the grass grows,"—the proverb is something musty.] The proverb is, "While the grass grows, the steed starves." Hamlet alludes to his own position, while waiting for his succession to the throne of Denmark. A similar adage is, "A slip between the cup and the lip."
III.98 "While the grass grows,"—that saying feels a bit old-fashioned.] The saying goes, "While the grass grows, the horse starves." Hamlet references his own situation while he waits for his turn to take the throne of Denmark. A similar saying is, "A slip between the cup and the lip."
III.100 Why do you go about to recover the wind of me,] Equivalent to our more modern saying of Get on the blind side.
III.100 Why are you trying to get the better of me,] which is like saying Get on the blind side.
III.102 If my duty be too bold, my love is too unmannerly.] If my sense of duty have led me too far, it is affection and regard for you that makes the carriage of that duty border on disrespect.
III.102 If my duty seems too forward, my love comes off as too rude. If my sense of duty has pushed me to go too far, it's my affection and care for you that makes the way I handle that duty seem disrespectful.
III.103 Govern these ventages—and it will discourse most eloquent music.] Justly order these vents, or air-holes, and it will breathe or utter, &c.
III.103 Control these openings—and it will produce the most beautiful music.] Arrange these vents properly, and it will resonate or speak, etc.
III.104 Though you can fret me, you cannot play upon me.] A fret is a stop or key of a musical instrument. Here is, therefore, a play upon the words. Though you cannot fret, stop, or vex, you cannot play or impose upon me.
III.104 Even though you can annoy me, you can't manipulate me.] A fret is a stop or key of a musical instrument. So, there's a clever wordplay here. Though you can't annoy, stop, or bother me, you also can't control or impose upon me.
III.105 They fool me to the top of my bent.] To the height; as far as they see me incline to go: an allusion to the utmost flexure of a bow.
III.105 They deceive me to the limit of my patience. To the maximum; as long as they see me bend to go: a reference to the full arc of a bow.
III.106 Bitter business] i.e., shocking, horrid business.
__A_TAG_PLACEHOLDER_0__ Bitter business] i.e., terrible, appalling situation.
III.107 Stands it safe with us] Is it consistent with our security.
III.107 Is it safe with us? Is it in line with our security?
III.108 This fear,] Bugbear.
__A_TAG_PLACEHOLDER_0__ This fear,] Bugbear.
III.109 Behind the arras I'll convey myself,] The arras-hangings, in Shakespeare's time, were hung at such a distance from the walls, that a person might easily stand behind them unperceived.
III.109 I'll hide behind the curtains, The curtain hangings, in Shakespeare's time, were placed far enough from the walls that someone could easily stand behind them without being seen.
III.110 To hear the process;] The course of the conversation.
III.110 To hear the process;] The flow of the conversation.
III.111 The speech of vantage.] i.e., opportunity or advantage of secret observations.
III.111 The speech of vantage.] i.e., the opportunity or edge gained from secret observations.
III.112 Lay home to him:] Pointedly and closely charge him.
III.112 Take it home to him:] Directly and firmly confront him.
III.114 I'll 'sconce me even here.] 'Sconce and ensconce are constantly used figuratively for hide. In "The Merry Wives of Windsor," Falstaff says, "I will ensconce me behind the arras."
III.114 I'll hide right here.] 'Sconce and ensconce are often used figuratively for hide. In "The Merry Wives of Windsor," Falstaff says, "I will hide behind the curtain."
III.115 By the rood,] i.e., the cross or crucifix.
III.115 By the cross,] i.e., the cross or crucifix.
III.116 How now! a rat?] This is an expression borrowed from the History of Hamblet.
III.116 What's this! A rat?] This is a phrase taken from the History of Hamblet.
III.117 Have not braz'd it so,] i.e., soldered with brass.
III.117 Haven't done it like that,] i.e., joined with brass.
III.118 Proof and bulwark against sense.] Against all feeling.
III.118 Defense and protection against perception.] Against all emotions.
III.119 Takes off the rose From the fair forehead of an innocent love, And sets a blister there;] i.e., takes the clear tint from the brow of unspotted, untainted innocence. "True or honest as the skin between one's brows" was a proverbial expression, and is frequently used by Shakespeare.
III.119 Takes the rose off The beautiful forehead of pure love, And leaves a mark there;] i.e., takes the clear color from the face of untouched, pure innocence. "True or honest as the skin between one's eyebrows" was a common saying and is often used by Shakespeare.
III.120 As from the body of contraction plucks The very soul;] Annihilates the very principle of contracts. Contraction for marriage contract.
III.120 As from the body of contraction plucks The very soul;] Destroys the fundamental principle of contracts. Contraction for marriage contract.
III.121 The counterfeit presentment] i.e., picture or mimic representation.
III.121 The fake display ] i.e., image or imitation representation.
III.122 Hypérion's curls;] Hyperion is used by Spenser with the same error in quantity.
III.122 Hyperion's curls;] Spenser uses Hyperion with the same mistake in quantity.
III.123 A station like the herald Mercury] Station is attitude—act of standing.
III.123 A station like the messenger Mercury] Station is posture—being still.
Like a mildew'd ear,
Like a moldy ear,
Blasting his wholesome brother.]
Blasting his good brother.
This alludes to Pharaoh's dream, in the 41st chapter of Genesis.
This refers to Pharaoh's dream in the 41st chapter of Genesis.
III.125 Batten on this moor?] Batten is to feed rankly.
III.125 Feed on this moor?] Batten means to feed greedily.
III.126 Hey-day in the blood] This expression is occasionally used by old authors.
III.126 The excitement of youth This phrase is sometimes used by older writers.
III.127 Thou canst mutine] i.e., rebel.
__A_TAG_PLACEHOLDER_0__ You can rebel i.e., rebel.
III.128 As will not leave their tinct.] So dyed in grain, that they will not relinquish or lose their tinct—are not to be discharged. In a sense not very dissimilar he presently says,
III.128 As will not leave their color.] So dyed in grain, that they will not give up or lose their color—are not to be let go. In a way that's not very different, he currently says,
"Then what I have to do
"Then what I need to do
Will want true colour."
Will want true color."
III.129 An enseamed bed.] i.e., greasy bed of grossly fed indulgence.
III.129 A greasy bed.] i.e., a filthy bed of overindulgence.
III.130 A vice of kings;] i.e., a low mimick of kings. The vice was the fool of the old moralities or dramas, who was generally engaged in contests with the devil, by whom he was finally carried away. Dr. Johnson says the modern Punch is descended from the vice.
III.130 A flaw of kings;] i.e., a cheap imitation of kings. The flaw was the fool found in old moral plays or dramas, who was typically involved in battles with the devil, ultimately being taken away by him. Dr. Johnson states that the modern Punch is a descendant of the flaw.
From a shelf the precious diadem stole,
From a shelf, the precious crown slipped away,
And put it in his pocket!
And put it in his pocket!
In allusion to the usurper procuring the crown as a common pilferer or thief, and not by open villainy that carried danger with it.
In reference to the usurper acquiring the crown like a common thief or burglar, rather than through blatant villainy that came with risks.
III.132 A king of shreds and patches.] This is said, pursuing the idea of the vice of kings. The vice being dressed as a fool, in a coat of party-coloured patches.
III.132 A king of rags and scraps.] This is said in relation to the concept of the flaws of kings. The flaw being portrayed as a fool, wearing a coat made of mismatched patches.
III.133 Laps'd in time and passion,] That having suffered time to slip, and passion to cool, &c. It was supposed that nothing was more offensive to apparitions than the neglect to attach importance to their appearance, or to be inattentive to their admonitions.
III.133 Lost in time and emotion, That letting time pass by and feelings fade, etc. It was believed that nothing bothered spirits more than when people failed to treat their appearances seriously or ignored their warnings.
III.134 Cool patience.] i.e., moderation.
__A_TAG_PLACEHOLDER_0__ Chill patience. i.e., balance.
III.135 Make them capable.] Make them intelligent—capable of conceiving.
III.135 Make them capable.] Make them smart—able to think critically.
III.136 My stem effects:] i.e., change the nature of my purposes, or what I mean to effect.
III.136 My stem effects:] i.e., change the nature of my goals, or what I plan to achieve.
III.137 Nothing at all; yet all that is, I see.] It is in perfect consistency with the belief that all spirits were not only naturally invisible, but that they possessed the power of making themselves visible to such persons only as they pleased.
III.137 Nothing at all; yet all that exists, I see.] It aligns perfectly with the idea that all spirits were not only naturally invisible but also had the ability to make themselves visible to only those they chose.
III.138 My father, in his habit as he lived!] In the habit he was accustomed to wear when living.
III.138 My father, in his usual clothes!] In the clothes he wore while he was alive.
This bodiless creation ecstasy
This bodiless creation is epic
Is very cunning in.]
Is very clever in.
i.e., "Such shadows are the weak brain's forgeries." Ecstasy in this place, as in many others, means a temporary alienation of mind—a fit.
i.e., "These illusions are just tricks of a weak mind." Ecstasy here, like in many other places, refers to a brief detachment from reality—a seizure.
III.140 Gambol from.] Start away from.
__A_TAG_PLACEHOLDER_0__ Gambol from.] Start away from.
And when you are desirous to be bless'd,
And when you want to be blessed,
I'll blessing beg of you]
I'll humbly ask you.
When you are desirous to receive a blessing from heaven (which you cannot, seriously, till you reform), I will beg to receive a blessing from you.
When you want to receive a blessing from above (which you can't seriously do until you change), I would like to ask for a blessing from you.
75
75
ACT IV.
Scene 1.—A ROOM IN THE CASTLE.
Enter King and Queen, from (R.H.) centre.
Enter King and Queen, from (R.H.) center.
King. There's matter in these sighs, these profound heaves:
King. There’s something important in these sighs, these deep breaths:
You must translate:1 'tis fit we understand them.
You must translate:1 it's important that we understand them.
How does Hamlet?
How does Hamlet work?
Queen. Mad as the sea and wind, when both contend
Queen. Crazy like the sea and wind when they’re both at odds
Which is the mightier: In his lawless fit,
Which is stronger: In his wild rage,
Behind the arras hearing something stir,
Behind the curtain, I heard something moving,
Whips out his rapier, cries A rat, a rat!
Whips out his sword and shouts, A rat, a rat!
And, in this brainish apprehension,2 kills
And, in this mental understanding, __A_TAG_PLACEHOLDER_0__ ends lives
The unseen good old man.
The hidden good old man.
King.
King.
O heavy deed!
Oh, heavy task!
It had been so with us, had we been there:
It would have been the same for us if we had been there:
Where is he gone?
Where has he gone?
Queen. To draw apart the body he hath kill'd.
Queen. To separate the body he has killed.
King. The sun no sooner shall the mountains touch,
King. The sun will barely touch the mountains,
But we will ship him hence: and this vile deed
But we will send him away: and this terrible act
We must, with all our majesty and skill,
We must, with all our strength and ability,
Both countenance and excuse.—Ho, Guildenstern!
Both face and excuse.—Hey, Guildenstern!
Enter Rosencrantz and Guildenstern (L.H.)
Enter Rosencrantz and Guildenstern (L.H.)
Friends both, go join you with some further aid:
Friends, both of you, go join forces with some additional help:
Hamlet in madness hath Polonius slain,
Hamlet, in his madness, has killed Polonius,
And from his mother's closet hath he dragg'd him:
And from his mother's closet, he has dragged him:
Go seek him out; speak fair, and bring the body
Go find him; be nice, and bring the body.
Into the chapel.
Into the chapel.
[Rosencrantz and Guildenstern cross to R.]
[Rosencrantz and Guildenstern walk over to R.]
I pray you, haste in this.
I ask you to hurry with this.
[Exeunt Rosencrantz and Guildenstern, R.H.]
[Rosencrantz and Guildenstern exit, R.H.]
Go, Gertrude, we'll call up our wisest friends;
Go, Gertrude, let’s gather our smartest friends;
And let them know, both what we mean to do,
And let them know what we plan to do,
And what's untimely done.
And what's done too late.
[Exit Queen, R.C.]
[Exit Queen, R.C.]
How dangerous is it that this man goes loose!
How dangerous is it that this man is free!
Yet must not we put the strong law on him:
Yet we must not impose the strict law on him:
He's lov'd of the distracted multitude,
He's loved by the confused crowd,
Who like not in their judgment, but their eyes;
Who judges not by their mind, but by what they see;
And where 'tis so, the offender's scourge is weigh'd,
And where that's the case, the offender's punishment is considered,
But never the offence.3
But never the offense. __A_TAG_PLACEHOLDER_0__
Enter Rosencrantz (R.)
Enter Rosencrantz (R.)
How now! what hath befallen?
What happened?
Ros. Where the dead body is bestowed, my lord,
Ros. Where the dead body is laid to rest, my lord,
We cannot get from him.
We can't get from him.
King.
Queen.
But where is he?
But where is he now?
Ros. Without, my lord; guarded, to know your pleasure.
Ros. Outside, my lord; I'm here, waiting to hear what you want.
King. Bring him before us.
King. Bring him to us.
Ros. Ho, Guildenstern! bring in my lord.
Ros. Hey, Guildenstern! Bring in my lord.
Enter Hamlet, Guildenstern, and Attendants (R.H.)
Enter Hamlet, Guildenstern, and Attendants (R.H.)
King. (C.) Now, Hamlet, where's Polonius?
King. (C.) Now, Hamlet, where's Polonius?
Ham. (R.) At supper.
Ham. (R.) At dinner.
King. At supper? Where?
King. At dinner? Where?
Ham. Not where he eats, but where he is eaten: a certain convocation of politick worms4 are e'en at him.
Ham. Not where he eats, but where he is eaten: a certain gathering of clever worms4 are already on him.
King. Where's Polonius?
King. Where's Polonius?
Ham. In Heaven; send thither to see: if your messenger find him not there, seek him i'the other place yourself. But, indeed, if you find him not within this month, you shall nose him as you go up the stairs into the lobby.
Ham. In Heaven; send someone there to check: if your messenger doesn't find him there, go look for him yourself in the other place. But honestly, if you don't find him within this month, you'll smell him as you go up the stairs into the lobby.
King. Go seek him there. [To Guildenstern.]
King. Go look for him there. [To Guildenstern.]
77Ham. He will stay till you come.
He'll wait for you.
[Exit Guildenstern, R.H.]
[Exit Guildenstern, R.H.]
King. Hamlet, this deed, for thine especial safety,
King. Hamlet, this action is for your own safety,
Must send thee hence:
Must send you away:
Therefore prepare thyself;
So get ready;
For England.
For England.
Ham.
Ham.
For England!
For England!
King.
King.
Ay, Hamlet.
Hey, Hamlet.
Ham.
Ham.
Good.
Good.
King. So is it, if thou knew'st our purposes.
King. So it is, if you knew our plans.
Ham. I see a cherub that sees them. But, come; for England!—Farewell, dear mother.
Ham. I see an angel that watches over them. But, let’s go; for England!—Goodbye, dear mom.
King. Thy loving father, Hamlet.
King. Your loving father, Hamlet.
Ham. My mother: Father and mother is man and wife; man and wife is one flesh; and so, my mother. Come, for England.
Ham. My mother: Dad and mom are husband and wife; husband and wife are one flesh; so, my mom. Come, for England.
[Exit, R.H.]
[Exit, R.H.]
King. Follow him at foot; tempt him with speed aboard;
King. Follow him on foot; entice him to come aboard quickly;
Away! for everything is seal'd and done.
Away! everything is sealed and done.
[Exeunt Rosencrantz and Attendants, R.H.]
[Rosencrantz and Attendants exit, R.H.]
And, England, if my love thou hold'st at aught,
And England, if my love means anything to you,
Thou may'st not coldly set6
You can't coldly set __A_TAG_PLACEHOLDER_0__
Our sovereign process;7 which imports at full,
Our governing process; __A_TAG_PLACEHOLDER_0__ that imports completely,
By letters conjuring to that effect,8
By letters asking for that, __A_TAG_PLACEHOLDER_0__
The present death of Hamlet. Do it, England;
The current death of Hamlet. Do it, England;
For thou must cure me: 'Till I know 'tis done,
For you must heal me: Until I know it's done,
[Exit King, L.H.]
[Exit King, L.H.]
Enter Queen and Horatio R. centre.
Enter Queen and Horatio R. center.
Queen. —— I will not speak with her.
Queen. —— I'm not going to talk to her.
Hor. She is importunate; indeed, distract:
She is persistent; truly, distracting:
'Twere good she were spoken with; for she may strew
'Twould be good to talk to her; because she might scatter
Dangerous conjectures in ill-breeding minds.
Dangerous ideas in toxic minds.
Queen. Let her come in.
Queen. Let her in.
[Exit Horatio, R.C.]
[Exit Horatio, R.C.]
78Re-enter Horatio, with Ophelia R. centre.
Re-enter Horatio, with Ophelia R. center.
Oph. Where is the beauteous majesty of Denmark?
Oph. Where is the beautiful majesty of Denmark?
Queen. How now, Ophelia!
Queen. What's up, Ophelia!
Oph. (C.)
Oph. (C.)
[Singing.]
Singing.
How should I your true love know
How should I know your true love?
From another one?
From someone else?
By his cockle hat and staff,
By his hat and cane,
Queen. (L.C.) Alas, sweet lady, what imports this song?
Queen. (L.C.) Oh no, dear lady, what does this song mean?
Oph. Say you? nay, pray you, mark.
Oph. What do you say? No, please, pay attention.
[Sings.]
Singing.
He is dead and gone, lady,
He’s gone, ma’am.
He is dead and gone;
He's dead and gone;
At his head a grass-green turf,
At his head, there’s a patch of green grass,
At his heels a stone.
At his heels, a stone.
Enter the King (L.H.)
Enter the King (L.H.)
Queen. Nay, but, Ophelia,——
Queen. No, but, Ophelia,——
Oph.
Eye doctor
Pray you, mark.
Please pay attention.
[Sings.]
Singing.
White his shroud as the mountain-snow,
White as mountain snow was his shroud,
Which bewept to the grave did go
Which cried their way to the grave
With true-love showers.
With real love showers.
King. How do you, pretty lady?
King. How are you, pretty lady?
Oph. Well, Heaven 'ield you!12 (Crosses to the King.)
Oph. Well, may heaven protect you!12 (Crosses to the King.)
They say the owl was a baker's daughter.13 We know what we are, but know not what we may be.
They say the owl was a baker's daughter.13 We know who we are, but we don’t know who we might become.
King. Conceit upon her father.14
King. Arrogance towards her father.__A_TAG_PLACEHOLDER_0__
Oph. Pray, you, let us have no words of this; but when they ask you what it means, say you this:
Oph. Please, let's not discuss this; but when they ask you what it means, just say this:
To-morrow is Saint Valentine's day,
Tomorrow is Saint Valentine's Day,
All in the morning betime,
All in the early morning,
And I, a maid at your window,
And I, a girl at your window,
To be your Valentine:
Be my Valentine:
King. Pretty Ophelia!
King. Hot Ophelia!
Oph. Indeed, without an oath, I'll make an end on't:
Oph. Honestly, without an oath, I'll finish this:
Then up he rose, and don'd his clothes,
Then he got up and put on his clothes,
And dupp'd15 the chamber door;
And knocked__A_TAG_PLACEHOLDER_0__ the chamber door;
Let in the maid, that out a maid
Let the maid in, and send the maid out.
Never departed more.
Never left more.
[Crosses to R.H.]
[Crosses to R.H.]
King. (L.) How long hath she been thus?
King. (L.) How long has she been like this?
Oph. (R.) I hope all will be well. We must be patient: but I cannot choose but weep, to think they should lay him i'the cold ground. My brother shall know of it; and so I thank you for your good counsel. Come, my coach! Good night, ladies; good night, sweet ladies; good night, good night.
Oph. (R.) I hope everything turns out okay. We need to be patient, but I can’t help but cry at the thought of him being laid in the cold ground. My brother will hear about it, and I appreciate your good advice. Come on, my ride! Good night, ladies; good night, sweet ladies; good night, good night.
[Exit, R.C.]
[Exit, R.C.]
King. Follow her close; give her good watch, I pray you.
King. Stay close to her; keep a good eye on her, please.
[Exit Horatio, through centre R.]
[Exit Horatio, through center R.]
O! this is the poison of deep grief; it springs
O! this is the poison of deep grief; it springs
All from her father's death.
All because of her father's death.
O, Gertrude, Gertrude,
O, Gertrude, Gertrude,
When sorrows come, they come not single spies,
When sorrows arrive, they don’t come one at a time,
But in battalions!
But in troops!
Enter Marcellus R. centre.
Enter Marcellus R. center.
King. What is the matter?
King. What's the problem?
Mar.
Mar.
Save yourself, my lord:
Save yourself, my lord:
O'erbears your officers. The rabble call him lord;
O'erbears your officers. The crowd calls him lord;
They cry, Choose we: Laertes shall be king!
They shout, Let's choose: Laertes will be king!
Caps, hands, and tongues, applaud it to the clouds,
Caps, hands, and tongues, cheer it to the heavens,
Laertes shall be king, Laertes king!
Laertes will be king, Laertes will be king!
[Noise within, R.C.]
Noise inside, R.C.
Enter Laertes, armed; Danes following R. centre.
Enter Laertes, armed; Danes following R. center.
Laer. Where is this king?—Sirs, stand you all without.
Laer. Where is the king?—Gentlemen, please wait outside.
Dan. No, let's come in.
Dan. No, let's go inside.
80Laer.
80Laer.
I pray you, give me leave.
Please, let me leave.
Dan. We will, we will.
Dan. We'll, we will.
[They retire without, R.H.]
They retire without, R.H.
Laer. O, thou vile king,
Laer. Oh, you awful king,
Give me my father.
Bring me my dad.
Queen (Interposing.) Calmly, good Laertes.
Queen (Interposing.) Relax, Laertes.
Laer. (R.) That drop of blood that's calm proclaims me bastard;
Laer. (R.) That drop of blood that's calm says I'm a bastard;
Cries cuckold to my father; brands the harlot
Cries out to my father; marks the woman.
Even here, between the chaste unsmirched brow
Even here, between the pure, unblemished brow
Of my true mother.17
Of my real mom.__A_TAG_PLACEHOLDER_0__
King. (L.) What is the cause, Laertes,
King. (L.) What's up, Laertes,
That thy rebellion looks so giant-like?
That your rebellion looks so huge?
Let him go, Gertrude; do not fear our person:
Let him go, Gertrude; don’t worry about us:
That treason can but peep to what it would,
That treason can only glimpse what it desires,
Acts little of his will.
Acts on little of his will.
Let him go, Gertrude.
Let him go, Gertrude.
[Queen obeys.]
[Queen complies.]
Laer. Where is my father?
Laer. Where's my dad?
King.
King.
Dead.
Deceased.
Queen.
Queen.
But not by him.
But not by him.
King. Let him demand his fill.
King. Let him ask for more.
Laer. How came he dead? I'll not be juggled with:
Laer. How did he die? I'm not going to be messed around with:
To hell, allegiance! To this point I stand,
To hell with loyalty! Here I stand,
Let come what comes; only I'll be reveng'd
Let whatever happens come; I just want my revenge.
Most throughly for my father.
Mostly for my dad.
King.
King.
Who shall stay you!
Who will stop you!
Laer. My will, not all the world's:20
Later. My choice, not anyone else's:__A_TAG_PLACEHOLDER_0__
And, for my means, I'll husband them so well,
And, for my needs, I'll manage them so well,
They shall go far with little.
They will go far with a little.
King.
King.
Good Laertes,
Good Laertes,
That I am guiltless of your father's death,
That I am innocent of your father's death,
And am most sensible in grief21 for it,
And I feel the grief deeply for it,
It shall as level to your judgment 'pear
It will appear as level to your judgment.
As day does to your eye.
As day does to your eyes.
Hor. (Without.) Oh, poor Ophelia!
Oh, poor Ophelia!
King. Let her come in.
King. Let her in.
Enter Ophelia (R.C.), fantastically dressed with Straws and Flowers.
Enter Ophelia (R.C.), dressed extravagantly with straw and flowers.
Laer. (Goes up L.C.) O rose of May!
Laer. (Goes up L.C.) O rose of May!
Dear maid, kind sister, sweet Ophelia!
Dear maid, sweet sister, lovely Ophelia!
O heavens! is't possible, a young maid's wits
O heavens! Is it possible, a young girl's wits
Should be as mortal as an old man's life?
Should it be as fleeting as an old man's life?
Oph. (R.C.)
Oph. (R.C.)
They bore him barefac'd on the bier;
They carried him openly on the stretcher;
And on his grave rain many a tear,—
And on his grave fall many tears,—
Fare you well, my dove!
Farewell, my dove!
Laer. (Coming down R) Hadst thou thy wits, and didst persuade revenge,
Laer. (Coming down R) If you had your senses and were convinced to seek revenge,
It could not move thus.
It couldn't move like that.
Laer. This nothing's more than matter.
Laer. This is nothing more than matter.
Laer. A document in madness; thoughts and remembrance fitted.
Laer. A document of madness; arranged thoughts and memories.
Oph. There's fennel for you, (crosses to the King on L.H.) and columbines:26 there's rue for you; (turns to the Queen, 82 who is R.C.) and here's some for me:—we may call it herb of grace o'Sundays:27—you may wear your rue with a difference.28—There's a daisy:29—I would give you some violets,30 but they withered all when my father died:—They say he made a good end,——
Oph. Here's some fennel for you, (crosses to the King on L.H.) and some columbines:26 and there's rue for you; (turns to the Queen, 82 who is R.C.) and here's some for me:—we can call it the herb of grace on Sundays:27—you can wear your rue differently.28—And here's a daisy:29—I’d give you some violets,30 but they all wilted away when my father died:—They say he had a good ending,——
Laer. (R.) Thought and affliction,32 passion, hell itself, She turns to favour and to prettiness.
Laer. (R.) Thoughts and suffering, passion, hell itself, She shifts to favor and beauty.
Oph.
Eye doctor
And will he not come again?
And won't he come back again?
And will he not come again?
And will he come back?
No, no, he is dead,
No, no, he’s dead.
Gone to his death-bed,
Gone to his deathbed,
He never will come again.
He won't come again.
His beard was white as snow,
His beard was as white as snow,
All flaxen was his poll:
His hair was all flaxen:
He is gone, he is gone,
He's gone, he's gone,
And we cast away moan:
And we let go of moan:
Heaven 'a mercy on his soul!
Heaven have mercy on his soul!
And of all christian souls, I pray Heaven. Heaven be wi' you.
And for all Christian souls, I pray to Heaven. May Heaven be with you.
[Exit Ophelia, R.C., Queen following.]
[Exit Ophelia, R.C., Queen following.]
Laer. Do you see this, O Heaven?
Laer. Do you see this, Oh Heaven?
83King. (L.C.) Laertes, I must commune with your grief,33
83King. (L.C.) Laertes, I need to talk about your sorrow, 33
Or you deny me right.
Or you deny me my rights.
Be you content to lend your patience to us,
Be willing to be patient with us,
And we shall jointly labour with your soul
And we will work together with your spirit.
To give it due content.
To give it proper attention.
Laer. (R.C.)
Laer. (__A_TAG_PLACEHOLDER_0__)
Let this be so;
Let it be so;
His means of death, his obscure funeral,—
His cause of death, his low-key funeral,—
No trophy, sword, nor hatchment o'er his bones,34
No trophy, sword, or memorial above his remains, 34
No noble rite nor formal ostentation,—
No noble ceremony or grand display,—
Cry to be heard,35 as 'twere from heaven to earth,
Cry to be heard, as if from heaven to earth,
That I must call't in question.
That I have to question it.
King.
King.
So you shall;
You will;
How now! what news?
What's up? Any news?
Enter Bernardo (R.H.C.)
Enter Bernardo (R.H.C.)
Ber. (C.)
Ber. (C.)
Letters, my lord, from Hamlet:
Letters, my lord, from Hamlet:
This to your majesty; this to the Queen.
This is for your majesty; this is for the Queen.
King. From Hamlet! who brought them?
King. From Hamlet! Who brought them?
Ber. Sailors, my lord, they say; I saw them not.
Ber. Sailors, my lord, they say; I didn't see them.
King.
King.
Laertes, you shall hear them.—
Laertes, you will hear them.—
Leave us.
Leave us alone.
[Exit, L.H.C.]
[Exit, L.H.C.]
[Reads.] High and mighty, You shall know I am set naked on your kingdom.37 To morrow shall I beg leave to see your kingly eyes: when I shall, first asking your pardon thereunto, recount the occasion of my sudden and more strange return.
Listen up. You should know that I’m here completely exposed in your kingdom. Tomorrow, I will respectfully ask to see your royal face; when I do, I’ll first ask for your forgiveness and then explain the reason for my unexpected and unusual return.
Hamlet.
Hamlet.
What should this mean? Are all the rest come back?
What does this mean? Are the others coming back?
Or is it some abuse, and no such thing?
Or is it just some kind of abuse, and there’s really nothing there?
Laer. (R.) Know you the hand?
Laer. (R.) Do you recognize the hand?
King. (L.) 'Tis Hamlet's character:38 Naked,—
King. (L.) It’s Hamlet's character: __A_TAG_PLACEHOLDER_0__ Naked,—
And in a postscript here, he says, alone.
And in a postscript here, he says, alone.
Can you advise me?
Can you help me?
Laer. I am lost in it, my lord. But let him come;
Laer. I'm confused, my lord. But let him come;
It warms the very sickness in my heart,
It warms the deep pain in my heart,
That I shall live and tell him to his teeth,
That I will live and tell him straight to his face,
Thus diddest thou.
Thus did you.
King.
King.
If it be so, Laertes,
If that's the case, Laertes,
Will you be rul'd by me?
Will you let me lead you?
Laer.
Later.
Ay, my lord;
Yes, my lord;
So you will not o'er-rule me to a peace.
So you won't force me into a truce.
King. To thine own peace.
King. Be true to your peace.
Some two months since,
About two months ago,
Here was a gentleman of Normandy,
Here was a guy from Normandy,
He made confession of39 you;
He confessed to __A_TAG_PLACEHOLDER_0__ you;
And gave you such a masterly report,
And gave you such a skillful report,
And for your rapier most especially,
And especially for your sword,
That he cried out, 'twould be a sight indeed,
That he shouted, 'that would be quite the sight,
If one could match you: this report of his
If someone could be as good a match for you: this report of his
Did Hamlet so envenom with his envy,
Did Hamlet poison himself with his jealousy,
That he could nothing do but wish and beg
That he could do nothing but wish and plead.
Your sudden coming o'er, to play with you.
Your unexpected arrival, to hang out with you.
Now, out of this,——
Now, from this,——
Laer.
Laer.
What out of this, my lord?
What comes of this, my lord?
King. Laertes, was your father dear to you?
King. Laertes, was your father important to you?
Or are you like the painting of a sorrow,
Or are you like a painting of sorrow,
A face without a heart?
A heartless face?
Laer.
Laer.
Why ask you this?
Why am I asking you this?
King. Hamlet return'd shall know you are come home:
King. Hamlet will know you’ve returned home:
We'll put on those shall praise your excellence,
We'll put on those who will praise your excellence,
And set a double varnish on the fame
And put a double coat of varnish on the fame
The Frenchman gave you; bring you, in fine, together,
The Frenchman brought you together in the end.
Most generous, and free from all contriving,
Most generous and completely free from scheming,
Will not peruse the foils:42 so that, with ease,
Will not look through the foils:42 so that, with ease,
Or with a little shuffling, you may choose
Or with a little rearranging, you can choose
Requite him for your father.
Repay him for your dad.
Laer.
Later.
I will do't:
I won’t do it.
And, for the purpose, I'll anoint my sword.
And for that purpose, I'll bless my sword.
I bought an unction of a mountebank,
I bought a potion from a fraud,
So mortal, that but dip a knife in it,
So mortal, that just dipping a knife in it,
Where it draws blood no cataplasm45 so rare,
Where it draws blood, no poultice is so rare,
Under the moon, can save the thing from death
Under the moon, can save the thing from dying
That is but scratch'd withal: I'll touch my point
That’s just a small part of it: I’ll make my point.
With this contagion, that, if I gall him slightly,
With this infection, that, if I annoy him just a bit,
It may be death.
It could be death.
King. (L.) Let's further think of this;
King. (L.) Let’s keep thinking about this;
(As make your bouts more violent to that end,)
(As you make your fights more intense to achieve that goal,)
And that he calls for drink, I'll have prepared him
And since he asks for a drink, I'll have it ready for him.
Our purpose may hold there. But stay, what noise?
Our purpose might be there. But wait, what’s that noise?
Enter Queen (R.C.)
Enter Queen (R.C.)
Queen. (C.) One woe doth tread upon another's heel,
Queen. (C.) One bad luck after another,
So fast they follow: Your sister's drown'd, Laertes.
So quickly they come after: Your sister has drowned, Laertes.
Laer. (R.) Drown'd! O, where?
Laer. (R.) Drowned! Oh, where?
Queen. There is a willow grows aslant a brook,
Queen. There’s a willow that grows sideways by a stream,
That shows his hoar leaves in the glassy stream;
That shows his gray leaves in the shiny stream;
Therewith fantastick garlands did she make
She made amazing garlands.
Of crow-flowers, nettles, daisies, and long purples;51
Of crow-flowers, nettles, daisies, and long purples;51
There, on the pendent boughs her cornet weeds
There, on the hanging branches, her cornfield weeds
Clambering to hang, an envious sliver broke;
Climbing to hang on, a jealous piece snapped;
When down her weedy trophies, and herself,
When she brought down her overgrown trophies, and herself,
Fell in the weeping brook.
Fell into the weeping brook.
Laer. I forbid my tears: But yet
Laer. I won’t cry; but still
Let shame say what it will: when these are gone,
Let shame say what it wants: when these are gone,
The woman will be out.53
The woman is stepping out.__A_TAG_PLACEHOLDER_0__
Adieu, my lord:
Goodbye, my lord:
I have a speech of fire, that fain would blaze,
I have a passionate speech that really wants to shine,
But that this folly drowns it.54
But this nonsense overwhelms it.__A_TAG_PLACEHOLDER_0__
[Exeunt. C.]
[Exit. C.]
END OF ACT FOURTH.
Notes
Act IV
Act 4
IV.1 Translate:] Interpret.
__A_TAG_PLACEHOLDER_0__ Translate:] Translate.
IV.2 In this brainish apprehension,] Distempered, brainsick mood.
IV.2 In this confused state of mind,] Disturbed, mentally unwell mood.
IV.3 Where the offender's scourge is weigh'd, But never the offence.] When an offender is popular, the people never consider what his crime was, but they scrutinise his punishment.
IV.3 Where the offender's punishment is judged, But never the crime. When someone who has committed a crime is popular, people don’t think about what they did wrong; they only focus on how they are punished.
IV.4 Politick worms] i.e., artful, cunning worms.
__A_TAG_PLACEHOLDER_0__ Politick worms] i.e., slick, crafty worms.
IV.5 The wind at help,] i.e., ready.
__A_TAG_PLACEHOLDER_0__ The wind is helpful,] i.e., ready.
IV.6 May'st not coldly set] Set is to value or estimate. "Thou may'st not set little by it, or estimate it lightly."
IV.6 You shouldn't coldly dismiss] Set means to value or estimate. "You shouldn't underrate it or take it lightly."
IV.7 Our sovereign process:] i.e., our royal design.
IV.7 Our official process:] that is, our regal plan.
IV.8 By letters conjuring to that effect,] The verb to conjure, in the sense of to supplicate, was formerly accented on the first syllable.
IV.8 By letters invoking that idea,] The verb to invoke, meaning to request earnestly, used to be stressed on the first syllable.
IV.10 His sandal shoon.] Shoon is the old plural of shoe. The verse is descriptive of a pilgrim. While this kind of devotion was in favour, love intrigues were carried on under that mask.
IV.10 His sandal shoes.] Shoes is the modern plural of shoe. The verse describes a pilgrim. While this kind of devotion was popular, romantic affairs were conducted under that pretense.
IV.11 Larded with sweet flowers;] i.e., Garnished with sweet flowers.
IV.11 Decorated with sweet flowers; i.e., Adorned with sweet flowers.
IV.12 Heaven 'ield you.] Requite; yield you recompence.
IV.12 Heaven protect you.] Pay back; give you compensation.
IV.13 The owl was a baker's daughter.] This is in reference to a story that was once prevalent among the common people of Gloucestershire.
IV.13 The owl was the daughter of a baker. This refers to a tale that was once popular among the everyday folks of Gloucestershire.
IV.14 Conceit upon her father.] Fancies respecting her father.
IV.14 Thoughts about her dad. Fancies regarding her father.
IV.15 Don'd and dupp'd] To don, is to do on, or put on, as doff is to do off, or put off. To dupp is to do up, or lift up the latch.
IV.15 Don'd and dupp'd] To don means to put on, just as doff means to take off. To dupp means to lift up the latch.
IV.16 In a riotous head,] The tide, strongly flowing, is said to pour in with a great head.
IV.16 In a chaotic mind,] The tide, rushing in, is often described to come in with a great surge.
IV.17 The chaste unsmirched brow of my true mother.] Unsmirched is unstained, not defiled.
IV.17 The pure, unblemished forehead of my real mother.] Unblemished is unstained, not tainted.
IV.18 Doth hedge a king,] The word hedge is used by the gravest writers upon the highest subjects.
IV.18 Hedges a king, The word hedge is used by the most serious writers on the most important topics.
IV.19 Both the worlds I give to negligence,] I am careless of my present and future prospects, my views in this life, as well as that which is to come.
IV.19 I've let both worlds slip away,] I'm indifferent to my current and future opportunities, my outlook on this life and the next.
IV.20 My will, not all the world's:] i.e., by my will as far as my will is concerned, not all the world shall stop me; and, as for my means, I'll husband them so well, they shall go far, though really little.
IV.20 My determination, not that of the entire world:] i.e., as far as my determination is concerned, nothing in the world will hold me back; and regarding my resources, I'll manage them so wisely that they'll stretch far, even though they may be quite limited.
IV.22 You must sing Down-a-down,] This was the burthen of an old song, well known in Shakespeare's time.
IV.22 You have to sing Down-a-down, This was the refrain of an old song, well known in Shakespeare's time.
IV.23 How well the wheel becomes it!] This probably means that the song or charm is well adapted to those who are occupied at spinning at the wheel.
IV.23 How well the wheel suits it!] This probably means that the song or charm is perfectly suited for those who are busy spinning at the wheel.
IV.24 There's rosemary, that's for remembrance;] Rosemary was anciently supposed to strengthen the memory, and was carried at funerals and wore at weddings. It was also considered the emblem of fidelity in lovers; and at weddings it was usual to dip the rosemary in the cup, and drink to the health of the new married couple.
IV.24 There's rosemary, that's for remembrance;] Rosemary was once believed to enhance memory and was used in funerals and worn at weddings. It was also seen as a symbol of loyalty between lovers; at weddings, it was common to dip the rosemary in the cup and toast to the health of the newlyweds.
IV.25 There is pansies,] i.e., a little flower called heart's-ease. Pansies in French signifies thoughts.
IV.25 There are pansies, i.e., a little flower called heart's-ease. Pansies in French means thoughts.
IV.26 There's fennel for you, and columbines:] Fennel was considered an emblem of flattery, and columbine was anciently supposed to be a thankless flower; signifying probably that the courtiers flattered to get favours, and were thankless after receiving them. Columbine was emblematical of forsaken lovers.
IV.26 Here’s some fennel for you, and columbines: Fennel was seen as a symbol of flattery, and columbine was believed to be a thankless flower; likely meaning that courtiers flattered to gain favors, only to be ungrateful afterward. Columbine symbolized abandoned lovers.
IV.27 There's rue for you; and here's some for me:—we may call it herb of grace o' Sundays:] Probably a quibble is meant here, as rue anciently signified the same as ruth, i.e., sorrow. In the common dictionaries of Shakespeare's time, it was called herb of grace. Ophelia wishes to remind the Queen of the sorrow and contrition she ought to feel for her unlawful marriage; and that she may wear her rue with peculiar propriety on Sundays, when she solicits pardon for the crime which she has so much occasion to rue and repent of.—Malone.
IV.27 Here's some rue for you, and here's some for me: we can call it the herb of grace on Sundays:] This likely plays on words since rue used to mean the same as ruth, meaning sorrow. In the common dictionaries during Shakespeare's time, it was referred to as herb of grace. Ophelia wants to remind the Queen of the sorrow and regret she should feel for her unlawful marriage; and she can wear her rue especially fitting on Sundays, when she asks for forgiveness for the sin she has so much reason to rue and repent for.—Malone.
IV.28 You may wear your rue with a difference.] i.e., to distinguish it from that worn by Ophelia, herself: because her tears flowed from the loss of a father—those of the Queen ought to flow for her guilt.
IV.28 You can wear your rue differently.] i.e., to set it apart from what Ophelia wore herself: because her tears came from losing her father—while the Queen's should come from her guilt.
IV.29 There's a daisy:] A daisy signified a warning to young women, not to trust the fair promises of their lovers.
IV.29 There's a daisy:] A daisy was a warning for young women, not to believe the sweet promises of their lovers.
IV.30 I would give you some violets,] Violets signified faithfulness.
IV.30 I would give you some violets, Violets represented loyalty.
IV.31 For bonny sweet Robin is all my joy,—] Part of an old song.
IV.31 For lovely sweet Robin is all my joy,—] Part of an old song.
IV.32 Thought and affliction,] Thought here, as in many other places, means melancholy.
IV.32 Thought and affliction,] Here, "thought" refers to sadness, as it does in many other contexts.
IV.33 I must commune with your grief,] i.e., confer, discuss, or argue with.
IV.33 I need to connect with your sorrow,] i.e., share ideas, talk about, or debate with.
IV.34 No trophy, sword, nor hatchment o'er his bones,] Not only the sword, but the helmet, gauntlet, spurs, and tabard, (i.e., a coat whereon the armorial ensigns were anciently depicted, from whence the term coat of armour), are hung over the grave of every knight.
IV.34 No trophy, sword, or memorial over his remains, Not only the sword, but also the helmet, gauntlet, spurs, and tabard, (i.e. a coat on which the heraldic symbols were originally shown, hence the term coat of arms), are displayed over the grave of every knight.
IV.35 Cry to be heard,] All these multiplied incitements are things which cry, &c.
IV.35 Shout to be heard,] All these numerous prompts are things that shout, &c.
IV.36 Let the great axe fall.] i.e., the axe that is to be laid to the root.
IV.36 Let the great axe fall.] i.e., the axe that is meant to cut at the root.
IV.37 Naked on your kingdom,] i.e., unprovided and defenceless.
IV.37 Exposed in your realm,] meaning, unprepared and vulnerable.
IV.38 'Tis Hamlet's character,] Peculiar mode of shaping his letters.
IV.38 It's Hamlet's character,] Unique way of writing his letters.
IV.39 Made confession of] Acknowledged.
__A_TAG_PLACEHOLDER_0__ Admitted Acknowledged.
IV.40 In your defence,] i.e., "in your art and science of defence."
IV.40 In your defense,] i.e., "in your skill and knowledge of defense."
IV.41 He, being remiss,] i.e., unsuspicious, not cautious.
IV.41 He, being careless,] i.e., unaware, not careful.
IV.43 A sword unbated,] Not blunted, as foils are by a button fixed to the end.
IV.43 An unsharpened sword, Not dulled, like practice swords are by a cap attached to the tip.
IV.44 In a pass of practice,] This probably means some favourite pass, some trick of fencing, with which Hamlet was inexperienced, and by which Laertes may be sure of success.
IV.44 In a practice match, This likely refers to a favorite move, a fencing trick that Hamlet is not familiar with, and by which Laertes can be confident of winning.
IV.45 No cataplasm,] i.e., poultice—a healing application.
__A_TAG_PLACEHOLDER_0__ No cataplasm,] i.e., poultice—a healing treatment.
IV.46 Collected from all simples,] i.e., from all ingredients in medicine.
IV.46 Gathered from all basic elements, i.e., from all ingredients used in medicine.
IV.47 On your cunnings,] i.e., on your dexterity.
__A_TAG_PLACEHOLDER_0__ On your cleverness, that is on your skill.
IV.49 For the nonce;] i.e., present purpose or design.
IV.49 For now;] i.e., current purpose or plan.
IV.50 Venom'd stuck,] Thrust. Stuck was a term of the fencing school.
IV.50 Venom'd stuck,] Thrust. "Stuck" was a term from the fencing school.
IV.51 Long purples,] One of the names for a species of orchis, a common English flower.
IV.51 Long purples, One of the names for a type of orchid, a common flower in England.
IV.52 Our trick:] Our course, or habit; a property that clings to, or makes a part of, us.
IV.52 Our trick:] Our routine, or custom; a quality that sticks to us, or becomes a part of us.
When these are gone,
When these are gone,
The woman will be out.
The woman is stepping out.
When these tears are shed, this womanish passion will be over.
When these tears are shed, this emotional passion will be over.
87
87
ACT V.
Scene 1.—A CHURCH YARD.
Enter two Clowns,1 with spades, &c. (L.H.U.E.)
Enter two clowns, __A_TAG_PLACEHOLDER_0__ with spades, etc. (L.H.U.E.)
1st Clo. (R.) Is she to be buried in christian burial that wilfully seeks her own salvation?
1st Clo. (R.) Is she going to get a Christian burial if she deliberately chooses her own salvation?
1st Clo. How can that be, unless she drowned herself in her own defence?
1st Clo. How could that happen, unless she killed herself to protect herself?
2nd Clo. Why, 'tis found so.
2nd Clo. Well, it’s true.
2nd Clo. Nay, but hear you, goodman delver.7
2nd Clo. No, but listen here, you good man of the earth. 7
1st Clo. Give me leave. Here lies the water; good: here stands the man; good: If the man go to this water, and drown himself, it is, will he, nill he, he goes,8 mark 88 you that; but if the water come to him and drown him, he drowns not himself: argal, he that is not guilty of his own death shortens not his own life.
1st Clo. Let me speak. Here’s the water; that’s good: here’s the man; that’s good: If the man goes to this water and drowns himself, whether he wants to or not, he goes.8 mark 88 you should know that; but if the water comes to him and drowns him, he’s not drowning himself: so, a person who isn’t guilty of their own death doesn’t cut their own life short.
2nd Clo. But is this law?
2nd Clo. But is this legal?
1st Clo. Ay, marry is't; crowner's-quest law.9
1st Clo. Yeah, it really is; it's the law for a coroner's inquest.9
2nd Clo. Will you ha' the truth on't? If this had not been a gentlewoman, she should have been buried out of christian burial.
2nd Clo. Do you want the truth? If she hadn’t been a lady, she wouldn’t have received a proper Christian burial.
2nd Clo. Was he a gentleman?12
Was he a gentleman? __A_TAG_PLACEHOLDER_0__
1st Clo. He was the first that ever bore arms. I'll put another question to thee: if thou answerest me not to the purpose, confess thyself——13
1st Clo. He was the first to ever carry a weapon. I'll ask you another question: if you don't answer me directly, admit it——13
2nd Clo. Go to.
2nd Clo. Let's go.
1st Clo. What is he that builds stronger than either the mason, the shipwright, or the carpenter?
1st Clo. Who is it that builds stronger than the mason, the shipbuilder, or the carpenter?
2nd Clo. The gallows-maker; for that frame outlives a thousand tenants.
2nd Clo. The person who makes gallows; that structure lasts longer than a thousand occupants.
1st Clo. I like thy wit well, in good faith: the gallows does well; But how does it well? it does well to those that do ill: now, thou dost ill to say the gallows is built stronger than the church: argal, the gallows may do well to thee. To't again, come.
1st Clo. I really like your sense of humor, honestly: the gallows has its purpose; but how does it? It serves those who do wrong: now, you're wrong for saying the gallows is stronger than the church: so, the gallows might work out well for you. Let's go again.
2nd Clo. Who builds stronger than a mason, a shipwright, or a carpenter?
2nd Clo. Who builds better than a mason, a shipbuilder, or a carpenter?
891st Clo. Ay, tell me that, and unyoke.14
891st Clo. Yes, tell me that, and take off the yoke.
2nd Clo. Marry, now I can tell.
2nd Clo. Well, now I can say.
1st Clo. To't.
To it.
2nd Clo. Mass, I cannot tell.
Second Closet Mass, I can't say.
1st Clo. Cudgel thy brains no more about it,15 for your dull ass will not mend his pace with beating; and, when you are asked this question next, say, a grave-maker, the houses that he makes, last till doomsday. Go, get thee to Yaughan, and fetch me a stoup of liquor.16
1st Clo. Stop overthinking it; your slow-witted self won’t get any faster no matter how much you hit it. When you're asked this question again, just say it’s a grave digger, and the graves he digs last until the end of time. Now, go to Yaughan and bring me a drink.
[Exit 2nd Clown, L.H.U.E.]
[Exit 2nd Clown, L.H.U.E.]
Enter Hamlet and Horatio (L.H.U.E.)
Enter Hamlet and Horatio (L.H.U.E.)
First Clown digs and sings.
First Clown digs and sings.
Methought, it was very sweet,
I thought it was very sweet,
To contract, O, the time, for, ah, my behove
To shorten the time, oh, for my sake
O, methought, there was nothing meet.
Oh, I thought there was nothing suitable.
Ham. (Behind the grave.) Has this fellow no feeling of his business, he sings at grave-making?
Ham. (Behind the grave.) Does this guy have no sense of his job? He's singing while digging graves?
Hor. (On Hamlet's R.) Custom hath made it in him a property of easiness.
Hor. (On Hamlet's R.) It has become second nature for him due to habit.
Ham. 'Tis e'en so: the hand of little employment hath the daintier sense.18
Ham. It's true: those who do less tend to have a more delicate perception.18
1st Clo.
First Clown
But age, with his stealing steps,
But age, with its creeping steps,
Hath clawed me in his clutch,
Hath clawed me in his grip,
And hath shipped me into the land,
And has sent me off to the land,
As if I had never been such.
As if I had never been that way.
[Throws up a skull.]
[Throws up a skull.]
Ham. That skull had a tongue in it, and could sing 90 once: How the knave jowls it to the ground, as if it were Cain's jaw-bone, that did the first murder! This might be the pate of a politician, which this ass now o'er-reaches; one that would circumvent Heaven, might it not?
Ham. That skull had a tongue in it and could sing once: Look how this fool throws it to the ground, like it’s Cain's jawbone, the one that committed the first murder! This could be the head of a politician, which this idiot now outsmarts; one who would try to outsmart Heaven, right? 90
Hor. It might, my lord.
Sure, my lord.
[Gravedigger throws up bones.]
Gravedigger tosses up bones.
Ham. Did these bones cost no more the breeding, but to play at loggats with them?19 mine ache to think on't.
Ham. Did these bones cost no more than raising them, just to play games with them?19 it hurts to think about it.
1st Clo.
1st Clown
[Sings.]
Singing.
A pick-axe and a spade, a spade,
A pickaxe and a shovel, a shovel,
For and a shrouding sheet:20
For a covering sheet: __A_TAG_PLACEHOLDER_0__
O, a pit of clay for to be made
Oh, a pit of clay to be made
For such a guest is meet.
For such a guest is fitting.
[Throws up a skull.]
[Throws up a skull emoji.]
Ham. There's another: Why may not that be the skull of a lawyer? Where be his quiddits now, his quillets,21 his cases, his tenures, and his tricks? Why does he suffer this rude knave now to knock him about the sconce22 with a dirty shovel, and will not tell him of his action of battery? I will speak to this fellow.—Whose grave's this, sirrah?
Ham. There's another: Why can't that be the skull of a lawyer? Where are his arguments now, his legal details, his cases, his ownership rights, and his tricks? Why is he letting this rude guy hit him on the head with a dirty shovel and won’t even tell him he's being assaulted? I will talk to this guy.—Whose grave is this, you?
1st Clo. Mine, sir.—
1st Clo. It's mine, sir.—
[Sings.]
[Sings.]
O, a pit of clay for to be made
O, a pit of clay to be shaped
For such a guest is meet.
For such a guest is appropriate.
Ham. (R. of grave.) I think it be thine, indeed; for thou liest in't.
Ham. (R. of grave.) I really think it is yours; after all, you are lying in it.
1st Clo. You lie out on't, sir, and therefore it is not yours: for my part, I do not lie in't, yet it is mine.
1st Clo. You're lying about it, sir, so it doesn’t belong to you: as for me, I'm not lying about it, yet it is mine.
Ham. Thou dost lie in't, to be in't, and say it is thine: 'tis for the dead, not for the quick; therefore thou liest.
Ham. You’re lying about it, being in it, and claiming it’s yours: it’s for the dead, not for the living; so you’re lying.
1st. Clo. 'Tis a quick lie, sir; 'twill away again, from me to you.
1st. Clo. It's a fast lie, sir; it will go away again, from me to you.
91 Ham. What man dost thou dig it for?
91 Ham. Which guy are you digging this for?
1st Clo. For no man, sir.
For no one, sir.
Ham. What woman, then?
Ham. Which woman, then?
1st Clo. For none, neither.
Neither for anyone.
Ham. Who is to be buried in't?
Ham. Who's going to be buried in it?
1st Clo. One that was a woman, sir; but, rest her soul, she's dead.
1st Clo. She used to be a woman, sir; but, bless her soul, she’s gone now.
1st Clo. Of all the days i'the year, I came to't that day that our last king Hamlet overcame Fortinbras.
1st Clo. Of all the days in the year, I showed up on the day our last king Hamlet defeated Fortinbras.
Ham. How long's that since?
Ham. How long has it been?
1st Clo. Cannot you tell that? every fool can tell that: It was the very day that young Hamlet was born,25 he that is mad, and sent into England.
1st Clo. Can’t you see that? Every idiot can see that: It was the very day that young Hamlet was born, 25 he who is insane and sent off to England.
Ham. Ay, marry, why was he sent into England?
Ham. Yeah, so why was he sent to England?
1st Clo. Why, because he was mad: he shall recover his wits there; or, if he do not, 'tis no great matter there.
1st Clo. Why? Because he was crazy: he'll get his sanity back there; or, if not, it doesn't really matter.
Ham. Why?
Ham. Why not?
1st Clo. 'Twill not be seen in him there; there the men are as mad as he.
1st Clo. It won't be noticeable in him there; everyone there is as crazy as he is.
Ham. How came he mad?
Ham. How did he go crazy?
1st Clo. Very strangely, they say.
1st Clo. That's strange, they say.
Ham. How strangely?
Ham. How weird?
1st Clo. 'Faith, e'en with losing his wits.
1st Clo. 'Honestly, even losing his mind.
Ham. Upon what ground?
Ham. On what basis?
1st Clo. Why, here in Denmark: I have been sexton here, man and boy, thirty years.
1st Clo. Well, I've been the grave digger here in Denmark, both as a boy and a man, for thirty years.
Ham. How long will a man lie i'the earth ere he rot?
Ham. How long does a person stay buried before they start to decompose?
1st Clo. 'Faith, if he be not rotten before he die, he 92 will last you some eight year or nine year: a tanner will last you nine year.
1st Clo. 'Honestly, if he isn't decayed before he dies, he'll last you about eight or nine years: a tanner will last you nine years.' 92
Ham. Why he more than another?
Ham. Why him more than others?
1st Clo. Why, sir, his hide is so tanned with his trade, that he will keep out water a great while; and your water is a sore decayer of your ill-begotten dead body. Here's a skull now, hath lain in the earth three-and-twenty years.
1st Clo. Well, sir, his skin is so tough from his work that it can hold off water for a long time; and your water really rots your poorly made dead body. Here's a skull that’s been buried for twenty-three years.
Ham. Whose was it?
Ham. Whose is it?
1st Clo. O, a mad fellow's it was: Whose do you think it was?
1st Clo. Oh, it was a crazy guy's: Whose do you think it was?
Ham. Nay, I know not.
Ham. No, I don’t know.
1st Clo. A pestilence on him for a mad rogue! he poured a flagon of Rhenish on my head once. This same skull, sir, was Yorick's skull, the king's jester.
1st Clo. Damn him for a crazy fool! He once dumped a jug of Rhenish wine on my head. This very skull, sir, was Yorick's skull, the king's jester.
Ham. This?
Ham. Is this?
[Takes the skull.]
Takes the skull.
1st Clo. E'en that.
Even that.
Ham. Alas, poor Yorick! I knew him, Horatio: a fellow of infinite jest, of most excellent fancy: he hath borne me on his back a thousand times. Here hung those lips that I have kissed I know not how oft; and now, how abhorred in my imagination it is! Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? Quite chap-fallen? Now get you to my lady's chamber, and tell her, let her paint an inch thick, to this favour26 she must come; make her laugh at that. Prithee, Horatio, tell me one thing.
Ham. Wow, poor Yorick! I knew him, Horatio: a guy full of humor, with an incredible imagination: he carried me on his back a thousand times. Here were the lips I’ve kissed who knows how many times; and now, it’s so repulsive in my mind! Where are your jokes now? Your fun? Your songs? Your bursts of laughter that used to make the room come alive? Not one left now to mock your own grin? Completely downcast? Now go to my lady's room and tell her, she can layer on the makeup as thick as she wants, but for this look26 she has to come; make her laugh at that. Please, Horatio, tell me one thing.
Hor. What's that, my lord?
What's that, my lord?
Ham. Dost thou think Alexander look'd o'this fashion i'the earth?
Ham. Do you think Alexander looked like this on Earth?
Hor. E'en so.
So it is.
Ham. And smelt so? pah!
Ham. And it smells like that? Ugh!
[Gives the skull to Horatio, who returns it to the grave-digger.]
[i>Gives the skull to Horatio, who takes it back to the grave-digger.]
Hor. E'en so, my lord.
Sure thing, my lord.
Ham. To what base uses may we return, Horatio! Why may not imagination trace the noble dust of Alexander, till it find it stopping a bung-hole?
Ham. What low uses might we fall back on, Horatio! Why can’t imagination follow the noble dust of Alexander, until it finds it blocking a booze barrel?
93Hor. 'Twere to consider too curiously,27 to consider so.
93Hor. It would be overly scrutinizing to think like that.
Ham. No, faith, not a jot; but to follow him thither with modesty enough, and likelihood to lead it: As thus; Alexander died, Alexander was buried, Alexander returneth to dust; the dust is earth; of earth we make loam; And why of that loam, whereto he was converted, might they not stop a beer barrel?
Ham. No, really, not at all; but to follow him there with enough modesty and a good chance of getting it right: Like this; Alexander died, Alexander was buried, Alexander turns to dust; the dust is earth; from earth we make loam; And why from that loam, which he became, couldn't they use it to stop up a beer barrel?
Might stop a hole to keep the wind away:
Might plug a hole to block the wind:
O, that the earth, which kept the world in awe,
O, that the earth, which held the world in awe,
But soft! but soft! aside: Here comes the king,
But wait! But wait! Step aside: Here comes the king,
The queen, the courtiers: Who is this they follow?
The queen and the courtiers: Who are they following?
The corse they follow did with desperate hand
The path they take is marked by a desperate hand.
Couch we awhile, and mark.
Chill on the couch, and notice.
[Retiring with Horatio, R.H.]
[Retiring with Horatio, R.H.]
Enter Priests, &c., in procession; the corpse of Ophelia, Laertes and Mourners following; King, Queen, their Trains, &c.
Enter Priests, etc., in procession; the body of Ophelia, Laertes and Mourners following; King, Monarch, their entourage, etc.
Laer. (L. of the grave.) What ceremony else?
Laer. (L. of the grave.) What other ceremony?
Ham. (R.)
Ham. (R.)
That is Laertes,
That's Laertes,
A very noble youth.
A very noble young man.
1st Priest. (R. of the grave.) Her obsequies have been as far enlarg'd
1st Priest. (R. of the grave.) Her funeral has been significantly extended
As we have warranty: Her death was doubtful;
As we have a warranty: Her death was questionable;
And, but that great command o'ersways the order,33
And, unless that great command overpowers the order,33
She should in ground unsanctified have lodged
She should have stayed in unholy ground.
Till the last trumpet; for charitable prayers,
Till the very end; for kind prayers,
Shards,34 flints, and pebbles, should be thrown on her:
Shards, 34 flints, and pebbles should be thrown at her:
Her maiden strewments, and the bringing home
Her wedding decorations, and the return home
Of bell and burial.36
Of bells and burials.__A_TAG_PLACEHOLDER_0__
Laer. Must there no more be done?
Laer. Is there nothing else that needs to be done?
1st Priest.
First Priest.
No more be done:
No more can be done:
We should profane the service of the dead
We should disrespect the service of the dead.
As to peace-parted souls.
Regarding peace-separated souls.
Laer. O, from her fair and unpolluted flesh
Laer. Oh, from her beautiful and untainted skin
May violets spring! I tell thee, churlish priest,38
May violets bloom! I’m telling you, rude priest,38
A ministering angel shall my sister be,
A helping angel will be my sister,
When thou liest howling.
When you lie howling.
Ham.
Ham.
What, the fair Ophelia!
What, the lovely Ophelia!
Queen. (Behind the grave, C. with the King.)
Queen. (Behind the grave, C. with the King.)
Sweets to the sweet: Farewell!
Sweets for the sweet: Goodbye!
[Scattering flowers.]
Flower scattering.
I hop'd thou shouldst have been my Hamlet's wife;
I hoped you would have been my Hamlet's wife;
I thought thy bride-bed to have deck'd, sweet maid,
I thought I would have prepared your wedding bed, sweet girl,
And not have strew'd thy grave.
And not have scattered anything on your grave.
Laer.
Laer.
O, treble woe
Oh, triple woe
Fall ten times treble on that cursed head,
Fall ten times harder on that cursed head,
Depriv'd thee of!—Hold off the earth a while,
Deprived you of!—Hold off the ground for a bit,
Till I have caught her once more in mine arms:
Till I have caught her in my arms again:
[Leaps into the grave.]
Leaps into the grave.
Now pile your dust upon the quick and dead,
Now bury your dust among the living and the dead,
Till of this flat a mountain you have made,
Till of this flat a mountain you have made,
Of blue Olympus.
Of blue Olympus.
Ham. (Advancing.) What is he whose grief
Ham. (Advancing.) Who is he that grieves
Bears such an emphasis?—whose phrase of sorrow
Bears such emphasis?—whose expression of sadness
Conjures the wand'ring stars, and makes them stand
Conjures the wandering stars and makes them stand.
Like wonder-wounded hearers?—this is I,
Like astonished, wounded listeners?—this is I,
Hamlet the Dane.
Hamlet of Denmark.
Laer. (L., leaping from the grave.) The devil take thy soul!
Laer. (L., jumping out of the grave.) Damn your soul!
[Grappling with him.]
Struggling with him.
Ham. (R.C.) Thou pray'st not well.
Ham. (R.C.) You’re not praying right.
I prithee, take thy fingers from my throat;
I beg you, take your fingers off my throat;
For, though I am not splenetive and rash,
For, even though I’m not grumpy or impulsive,
Yet have I in me something dangerous,
Yet I have something dangerous in me,
Which let thy wisdom fear: Hold off thy hand!
Which lets your wisdom be cautious: Hold back your hand!
King. Pluck them asunder.
King. Tear them apart.
Queen. (C.)
Queen. (C.)
Hamlet, Hamlet!
Hamlet, Hamlet!
Ham. (R.C.) Why, I will fight with him upon this theme
Ham. (R.C.) Why, I will argue with him about this topic.
Until my eyelids will no longer wag.
Until my eyelids stop twitching.
Queen. O my son, what theme?
Queen. Oh my son, what topic?
Ham. I lov'd Ophelia: forty thousand brothers
Ham. I loved Ophelia: forty thousand brothers
Could not, with all their quantity of love,
Could not, with all their love,
Make up my sum.—What wilt thou do for her?
Make up my mind.—What will you do for her?
Queen. O, he is mad, Laertes.
Queen. Oh, he’s lost it, Laertes.
Ham. Come, show me what thou'lt do:
Ham. Come on, show me what you can do:
Wou'lt weep? wou'lt fight? wou'lt fast? wou'lt tear thyself?
Willing to cry? Willing to fight? Willing to go without food? Willing to hurt yourself?
I'll do't.—Dost thou come here to whine?
I'll do it.—Are you here to complain?
To outface me41 with leaping in her grave?
To confront me—A_TAG_PLACEHOLDER_0—with jumping into her grave?
Be buried quick with her, and so will I:
Be buried quickly with her, and I will too:
And, if thou prate of mountains, let them throw
And if you talk about mountains, let them throw
Singeing his pate against the burning zone,
Singeing his head against the burning zone,
I'll rant as well as thou.
I'll rant just as much as you.
Queen.
Queen.
This is mere madness:
This is pure madness:
And thus a while the fit will work on him;
And so, for a while, the fit will affect him;
Anon, as patient as the female dove,
Anon, as patient as the female dove,
His silence will sit drooping.
His silence will linger.
96Ham.
96Ham.
Hear you, sir;
I hear you, sir;
What is the reason that you use me thus?
What’s the reason you treat me like this?
I lov'd you ever: But it is no matter;
I have always loved you: But it doesn’t matter;
Let Hercules himself do what he may,
Let Hercules do whatever he wants,
The cat will mew,45 and dog will have his day.
The cat will meow, 45 and the dog will have his moment.
[Exit, R.H.]
[Exit, R.H.]
King. (C.) I pray thee, good Horatio, wait upon him.
King. (C.) Please, good Horatio, stay with him.
[Exit Horatio, R.H.]
[Exit Horatio, R.H.]
Good Gertrude, set some watch over your son,
Good Gertrude, keep an eye on your son,
[Exit Queen, attended, R.H.]
[Exit Queen, accompanied by R.H.]
Strengthen your patience in our last night's speech;46
Strengthen your patience from our speech last night;46
[To Laertes.]
[To Laertes.]
We'll put the matter to the present push.—
We'll address the issue at hand.
An hour of quiet shortly shall we see;
An hour of peace will soon come our way;
Till then, in patience our proceeding be.
Until then, let’s wait patiently.
[The characters group round the grave.]
[i]The characters gather around the grave.[/i]
Scene 2.—HALL IN THE CASTLE.
Enter Hamlet and Horatio (R.H.)
Enter Hamlet and Horatio (R.H.)
Ham. But I am very sorry, good Horatio,
Ham. But I’m really sorry, good Horatio,
That to Laertes I forgot myself;
That I forgot myself to Laertes;
The portraiture of his.
His portrait.
Hor.
Hor.
Peace! who comes here?
Peace! Who's there?
Enter Osric (L.H.)
Enter Osric (L.H.)
Osr. Your lordship is right welcome back to Denmark.
Osr. Your lordship, it’s great to have you back in Denmark.
97Ham. (C.) I humbly thank you, sir.—Dost know this water-fly?49
97Ham. (C.) Thank you, sir.—Do you know this mayfly?49
Hor. (R.) No, my good lord.
No, my good lord.
Ham. Thy state is the more gracious; for 'tis a vice to know him.
Ham. Your situation is better; because it's a flaw to understand him.
Osr. (L.) Sweet lord, if your lordship were at leisure, I should impart a thing to you from his majesty.
Osr. (L.) Sweet lord, if you have a moment, I would like to share something with you from his majesty.
Ham. I will receive it, sir, with all diligence of spirit.50 Your bonnet to his right use; 'tis for the head.
Ham. I'll take it, sir, with all due seriousness. 50 Your hat has its proper purpose; it's meant for the head.
Osr. I thank your lordship, 'tis very hot.
Osr. Thank you, my lord, it's really hot.
Ham. No, believe me, 'tis very cold; the wind is northerly.
Ham. No, trust me, it’s really cold; the wind is coming from the north.
Osr. It is indifferent cold, my lord, indeed.
Osr. It is extremely cold, my lord, for sure.
Ham. But yet, methinks it is very sultry and hot,51 for my complexion,—
Ham. But still, I think it's really muggy and hot,51 for my skin tone,—
Osr. Exceedingly, my lord; it is very sultry, as 'twere,—I cannot tell how.—But, my lord, his majesty bade me signify to you, that he has laid a great wager on your head: Sir, this is the matter,—
Osr. Absolutely, my lord; it’s quite hot, you know—I can’t really say how. But, my lord, his majesty asked me to inform you that he has made a big bet on you: Sir, here’s the situation—
Ham. I beseech you, remember——
Ham. Please remember——
[Hamlet moves him to put on his hat.]
[Hamlet urges him to put on his hat.]
Osr. Nay, good my lord; for mine ease, in good faith.52 Sir, here is newly come to court Laertes; believe me, an absolute gentleman, full of most excellent differences, of very soft society and great showing:53 Indeed, to speak feelingly of him,54 he is the card or calendar of gentry,55 98 for you shall find in him the continent of what part a gentleman would see.56
Osr. No, my lord; for my own peace of mind, honestly.52 Sir, Laertes has just arrived at court; trust me, he’s a true gentleman, full of remarkable traits, with a pleasant demeanor and a striking presence:53 Truly, to talk about him honestly,54 he embodies what it means to be noble,55 98 because you will discover in him everything a gentleman should possess.56
Ham. What imports the nomination of this gentleman?57
Ham. What does it matter to nominate this guy?57
Osr. Of Laertes?
Osr. From Laertes?
Ham. Of him, sir.
Ham. About him, sir.
Osr. Sir, you are not ignorant of what excellence Laertes is—
Osr. Sir, you know very well what excellence Laertes is—
Ham. I dare not confess that, lest I should compare with him in excellence; but, to know a man well, were to know himself.58
Ham. I can't admit that, because I don't want to be compared to him in skill; but to really know a person, you have to know yourself.58
Osr. I mean, sir, for his weapon.
Osr. I mean, sir, regarding his weapon.
Ham. What is his weapon?
Ham. What’s his weapon?
Osr. Rapier and dagger.
Rapier and dagger.
Ham. That's two of his weapons: but, well.
Ham. That's two of his weapons, but, okay.
Osr. The king, sir, hath wagered with him six Barbary horses: against the which he has imponed,59 as I take it, six French rapiers and poignards, with their assigns, as girdle, hangers,60 or so: Three of the carriages, in faith, are very dear to fancy, very responsive to the hilts, most delicate carriages, and of very liberal conceit.61
Osr. The king, sir, has bet him six Barbary horses: against which he has put up, as I understand it, six French swords and daggers, along with their accessories, like belts and sheaths, or something like that: Three of the daggers, honestly, are quite fancy, very well-matched with the hilts, very delicate designs, and of very generous style.61
Ham. What call you the carriages?
Ham. What do you call the carriages?
Osr. The carriages, sir, are the hangers.
Osr. The carriages, sir, are the hangers.
99Ham. The phrase would be more german62 to the matter, if we could carry cannon by our sides.
99Ham. The phrase would be more relevant to the situation if we could carry cannons at our sides.
Osr. The king, sir, hath laid, that in a dozen passes between yourself and him, he shall not exceed you three hits; and it would come to immediate trial, if your lordship would vouchsafe the answer.63
Osr. The king has stated that in twelve rounds between you and him, he won’t land more than three hits. It will go to an immediate test if you would kindly give an answer. 63
Ham. How if I answer no?64
Ham. What if I say no? __A_TAG_PLACEHOLDER_0__
Osr. I mean, my lord, the opposition of your person in trial.
Osr. I mean, my lord, the way you are opposed in this trial.
Ham. Sir, it is the breathing time of day with me; let the foils be brought, the gentleman willing, and the king hold his purpose, I will win for him if I can; if not, I will gain nothing but my shame and the odd hits.
Ham. Sir, it’s the most active time of day for me; let’s bring out the foils, the guy is up for it, and if the king is committed, I’ll win for him if I can; if not, I’ll gain nothing but my embarrassment and some random hits.
Osr. Shall I deliver you so?
Osr. Should I give you up?
Ham. To this effect, sir; after what flourish your nature will.
Ham. To this end, sir; however you want to present it.
Osr. I commend my duty to your lordship.
Osr. I entrust my responsibilities to you, my lord.
[Exit, L.H.]
[Exit, L.H.]
Hor. (R.) You will lose this wager, my lord.
Hor. (R.) You're going to lose this bet, my lord.
Ham. (C.) I do not think so; since he went into France, I have been in continual practice; I shall win at the odds.65 But thou wouldst not think how ill all's here about my heart: but it is no matter.
Ham. (C.) I don’t think so; ever since he went to France, I’ve been practicing nonstop; I’m going to win against the odds.65 But you wouldn’t believe how messed up I feel about everything: but whatever.
Hor. Nay, good my lord.
No, good my lord.
Ham. It is but foolery; but it is such a kind of gain-giving,66 as would, perhaps, trouble a woman.
Ham. It's just foolishness; but it's the kind of thing that might, perhaps, upset a woman.
Hor. If your mind dislike any thing, obey it:67 I will forestall their repair hither, and say, you are not fit.
Hor. If something bothers you, listen to that feeling:67 I will get ahead of them coming here and say that you're not ready.
Ham. Not a whit, we defy augury: there is a special providence in the fall of a sparrow.
Ham. Not at all, we ignore omens: there's a special purpose in the fall of a sparrow.
[Exeunt, L.H.]
[Exit, L.H.]
100
100
Scene 3.—ROOM IN THE CASTLE.
King and Queen, on a dais, Laertes (R.), Lords (R.), Ladies (L.), Osric (R.) and Attendants, with Foils, &c., discovered (R.H.); Tables (R. and L.)—Flourish of Trumpets.
King and Queen are on a platform, with Laertes (R.), Lords (R.), Ladies (L.), Osric (R.) and attendants, carrying foils, etc., revealed (R.H.); tables (R. and L.)—trumpets flourish.
Enter Hamlet and Horatio (L.H.)
Enter Hamlet and Horatio (L.H.)
King. Come, Hamlet, come, and take this hand from me.
King. Come on, Hamlet, come and take this hand from me.
Ham. (offering his hand to Laertes)
Ham. (offering his hand to Laertes)
Give me your pardon, sir: I have done you wrong;
Give me your forgiveness, sir: I have wronged you;
But pardon it, as you are a gentleman.
But forgive it, since you're a gentleman.
Let my disclaiming from a purpos'd evil
Let me distance myself from an intended wrongdoing.
Free me so far in your most generous thoughts,
Free me in your kindest thoughts,
That I have shot my arrow o'er the house,
That I've shot my arrow over the house,
And hurt my brother.
And hurt my brother.
Laer. (R.)
Laer. (R.)
I am satisfied in nature,
I'm content in nature,
Whose motive, in this case, should stir me most
Whose motive, in this case, should move me the most
To my revenge.
To my revenge.
I do receive your offer'd love like love,
I accept your offered love just like love.
And will not wrong it.
And will not do wrong.
Ham.
Ham.
I embrace it freely:
I welcome it openly:
And will this brother's wager frankly play.
And will this brother's bet honestly happen?
Give us the foils.
Give us the files.
Laer.
Layer.
Come, one for me.
Come, one for me.
Ham. I'll be your foil, Laertes: in mine ignorance
Ham. I'll be your foil, Laertes: in my ignorance
Your skill shall, like a star i'the darkest night,
Your talent will shine like a star in the darkest night,
Stick fiery off indeed.68
Stick it out for real.__A_TAG_PLACEHOLDER_0__
Laer.
Later.
You mock me, sir.
You’re mocking me, sir.
Ham. No, by this hand.
Ham. No, I swear.
King. Give them the foils, young Osric. Cousin Hamlet,
King. Hand them the swords, young Osric. Cousin Hamlet,
You know the wager?
You know the bet?
Ham.
Ham.
Very well, my lord;
Sure thing, my lord;
Your grace hath laid the odds o'the weaker side.
Your grace has favored the weaker side.
King. I do not fear it; I have seen you both:
King. I’m not afraid of it; I’ve seen both of you:
101 Laer. This is too heavy, let me see another.
101 Laer. This is too much, let me check another one.
Ham. This likes me well. These foils have all a length?
Ham. I really like this. Do all these swords have the same length?
Osr. Ay, my good lord.
Osr. Yes, my good lord.
[Pages exeunt R. and L.]
[Pages exit R. and L.]
If Hamlet give the first or second hit,
If Hamlet lands the first or second blow,
Let all the battlements their ordnance fire;
Let all the fortifications fire their cannons;
The king shall drink to Hamlet's better breath;
The king will raise a toast to Hamlet's health.
Richer than that which four successive kings
Richer than what four consecutive kings
In Denmark's crown have worn.
Worn in Denmark's crown.
Pages return with wine.
Pages return with wine.
Give me the cup;
Hand me the cup;
The trumpet to the cannoneer without,
The trumpet to the cannon operator outside,
The cannons to the heavens, the heaven to earth,
The cannons to the sky, the sky to the ground,
Now the king drinks to Hamlet.—Come, begin;
Now the king raises a glass to Hamlet.—Come on, let’s start;
And you, the judges, bear a wary eye.
And you, the judges, keep a careful eye.
Ham. Come on, sir.
Ham. Let's go, sir.
Laer.
Laer.
Come, my lord.
Come, my lord.
[They play.]
They are playing.
Ham.
Ham.
One.
One.
Laer.
Lear.
No.
No.
Ham.
Ham.
Judgment.
Judgment.
Osr. A hit, a very palpable hit.
Osr. A strike, a very clear strike.
Laer.
Later.
Well:—again.
Well, again.
King. Stay; give me drink. Hamlet, this pearl is thine;
King. Wait; let me have a drink. Hamlet, this pearl belongs to you;
[Drops poison into the goblet.]
Drops poison into the cup.
Here's to thy health.
Cheers to your health.
[Pretends to drink.]
[Pretends to sip.]
[Trumpets sound; and cannon shot off within.]
[Trumpets play; and cannons fire in the background.]
Give him the cup.
Give him the mug.
102Ham. I'll play this bout first; set it by awhile.
102Ham. I'll take this turn first; hold on for a bit.
[Page places the goblet on table, L.]
[Page places the goblet on the table, L.]
Come.
Come here.
Another hit; What say you?
Another hit; What do you think?
[They play.]
They’re playing.
Laer. A touch, a touch, I do confess.
Laer. Just a little, just a little, I admit.
King. Our son shall win.
King. Our son will win.
Ham. Good madam!——
Ham. Good lady!——
[Trumpets sound.]
Trumpets play.
King.
King.
Gertrude, do not drink.
Gertrude, don't drink.
Queen. I have, my lord; I pray you, pardon me.
Queen. I have, my lord; please forgive me.
King. It is the poison'd cup; it is too late.
King. It’s the poisoned cup; it’s too late.
[Aside.]
[By the way.]
Laer. I'll hit him now
Laer. I'm going to hit him now.
And yet it is almost against my conscience.
And yet it almost goes against my conscience.
[Aside.]
[By the way.]
Ham. Come, for the third, Laertes: You do but dally;
Ham. Come on, Laertes, for the third time: You're just wasting time;
I pray you, pass with your best violence;
I urge you, act with your strongest force;
Laer. Say you so? come on.
Laer. Is that so? Let’s go.
[They play.]
They’re playing.
[Laertes wounds Hamlet; then, in scuffling they change Rapiers, and Hamlet wounds Laertes.]
[Laertes stabs Hamlet; then, in the struggle, they switch swords, and Hamlet stabs Laertes.]
King.
King.
Part them; they are incensed.
Move them; they are angry.
Ham. Nay, come, again.
Ham. No, come on, again.
[The Queen falls back in her chair.]
The Queen slumps back in her chair.
Osr. (Supporting Laertes, R.) Look to the queen there, ho!
Osr. (Supporting Laertes, R.) Check out the queen over there, hey!
Hor. (Supporting Hamlet, L.) How is it, my lord?
Hor. (Supporting Hamlet, L.) How's it going, my lord?
Osr. How is't, Laertes?
Osr. What's up, Laertes?
Laer. Why, as a woodcock to my own springe,76 Osric;
Laer. Why, just like a woodcock caught in my own trap, 76 Osric;
I am justly killed with mine own treachery.
I am justly killed by my own betrayal.
Ham. How does the queen?
Ham. How's the queen?
King.
Monarch.
She swoons to see them bleed.
She feels faint at the sight of their blood.
Queen. No, no, the drink, the drink,—O, my dear Hamlet,—
Queen. No, no, the drink, the drink,—Oh, my dear Hamlet,—
The drink, the drink! I am poison'd.
The drink, the drink! I’m poisoned.
[The Queen is conveyed off the stage by her attendant Ladies, in a dying state, L.H.U.E.]
[The Queen is escorted off the stage by her attendant Ladies, in a dying state, L.H.U.E.]
103Ham. O villainy! Ho! let the doors be lock'd:
103Ham. Oh, what a villain! Hey! Lock the doors!
Treachery! seek it out.
Betrayal! Find it.
[Laertes falls.]
[Laertes collapses.]
Laer. (R.) It is here, Hamlet: Hamlet, thou art slain;
Laer. (R.) It's here, Hamlet: Hamlet, you are dead;
No medicine in the world can do thee good,
No medicine in the world can help you,
In thee there is not half an hour's life;
In you, there isn't even half an hour's life;
The treacherous instrument is in thy hand,
The dangerous tool is in your hand,
Unfiltered and toxic: __A_TAG_PLACEHOLDER_0__ the gross practice __A_TAG_PLACEHOLDER_1__
Hath turn'd itself on me; lo, here I lie,
Hath turned itself on me; lo, here I lie,
Never to rise again: Thy mother's poison'd:
Never to rise again: Your mother's poisoned:
I can no more: the king, the king's to blame.
I can't take it anymore: the king, the king's responsible.
Ham. The point
Ham. The goal
Envenom'd too! Then, venom, to thy work.
Envenomed too! Then, poison, do your job.
Here, thou incestuous, murd'rous, damnèd Dane,
Here, you incestuous, murderous, damned Dane,
Follow my mother.
Follow my mom.
[Stabs the King, who is borne away by his attendants, mortally wounded, R.H.U.E.]
[Stabs the King, who is carried away by his attendants, mortally wounded, R.H.U.E.]
Laer.
Laer.
He is justly serv'd;
He got what he deserves;
Exchange forgiveness with me, noble Hamlet:
Exchange forgiveness with me, noble Hamlet:
Mine and my father's death come not upon thee,
Mine and my father's death does not fall upon you,
Nor thine on me!
Nor your blame on me!
[Dies.]
[Happens.]
Ham. (C.) Heaven make thee free of it! I follow thee.
Ham. (C.) May heaven release you from it! I’m coming with you.
You that look pale and tremble at this chance,
You who look pale and shake at this opportunity,
That are but mutes or audience to this act,
That are just spectators to this act,
Had I but time (as this fell sergeant, death,79
Had I just time (like this unfortunate sergeant, death, 79
Is strict in his arrest), O, I could tell you,—
Is strict in his arrest), O, I could tell you,—
But let it be. Horatio,
But let it be, Horatio.
Report me and my cause aright
Report me and my situation accurately.
To the unsatisfied.
To the dissatisfied.
Hor. (L.)
Hor. (L.)
Never believe it:
Don't believe it:
I am more an antique Roman than a Dane:
I’m more of an ancient Roman than a Dane:
Here's yet some liquor left.
Here's some liquor left.
[Seizing the goblet on table, L.]
Grabbing the goblet on the table, L.
Ham.
Ham.
As thou'rt a man,—
Since you’re a man,—
Give me the cup: let go; by heaven, I'll have it.
Give me the cup: let go; I swear, I'll take it.
[Dashes the goblet away.]
Dashes the goblet aside.
O good Horatio, what a wounded name,
O good Horatio, what a hurt reputation,
Things standing thus unknown, shall live behind me!80
Things unknown like this will stay behind me!80
If thou didst ever hold me in thy heart,
If you ever held me in your heart,
Absènt thee from felicity awhile,
Stay away from happiness for a while,
And in this harsh world draw thy breath in pain,
And in this tough world, take your breath with pain,
To tell my story.—
To share my story.
O, I die, Horatio;
Oh, I'm dying, Horatio;
The rest is silence.
The rest is silence.
[Dies, C., Osric on his R., and Horatio on his L.]
[Dies, C., Osric on his R., and Horatio on his L.]
Dead March afar off.
Dead March from a distance.
Curtain slowly descends.
Curtain slowly closes.
THE END.
Notes
Act V
Act 5
V.1 Enter two Clowns,] These characters are not in the original story, but are introduced by Shakespeare.
V.1 Enter two Clowns,] These characters are not in the original story, but are introduced by Shakespeare.
V.2 Make her grave straight:] i.e., straightways, forthwith.
V.2 Make her grave straight:] that is, right away, immediately.
V.4 It must be se offendendo;] A confusion of things as well as of terms: used for se defendendo, a finding of the jury in justifiable homicide.
V.4 It must be se offendendo;] A mix-up of things as well as terms: used for se defendendo, a jury's verdict in a case of justifiable homicide.
V.5 To act, to do, and to perform:] Warburton says, this is ridicule on scholastic divisions without distinction, and of distinctions without difference.
V.5 To act, to do, and to perform:] Warburton says, this is mocking the academic divisions that lack meaningful distinctions and the distinctions that hold no real difference.
V.6 Argal,] A corruption of the Latin word, ergo, therefore.
V.6 Argal,] A variation of the Latin word, ergo, therefore.
V.7 Delver.] i.e., a digger, one that opens the ground with a spade.
V.7 Delver.] i.e., a digger, someone who digs into the ground with a spade.
V.8 If the man go to this water,—it is, will he, nill he, he goes,] Still floundering and confounding himself. He means to represent it as a wilful act, and of course without any mixture of nill or nolens in it. Had he gone, as stated, whether he would or not, it would not have been of his own accord, or his act.
V.8 If the man goes to this water—whether he wants to or not, he goes, Still struggling and confusing himself. He intends to portray it as a willed act, and of course, without any mixture of wanting or reluctance in it. If he had gone, as mentioned, whether he wanted to or not, it would not have been of his own choice, or his action.
V.9 Crowner's-quest law.] Crowner's-quest is a vulgar corruption of coroner's inquest.
V.9 Crowner's-quest law.] Crowner's-quest is a slang twist on coroner's inquest.
V.10 Why, there thou say'st] Say'st something, speak'st to the purpose.
V.10 Why, there you say] You’re saying something, speaking to the point.
V.11 More than their even christian.] An old English expression for fellow-christian.
V.11 More than their even christian.] An old English expression for fellow Christian.
V.12 Was he a gentleman?] Mr. Douce says this is intended as a ridicule upon heraldry.
V.12 Was he a gentleman?] Mr. Douce claims this is meant to mock heraldry.
V.13 Confess thyself——] Admit, or by acknowledgment pass sentence upon thyself, as a simpleton? "Confess, and be hanged," was a proverbial sentence.
V.13 Own up——] Admit it, or in doing so, condemn yourself like a fool? "Confess, or face the consequences," was a well-known saying.
V.14 Tell me that, and unyoke.] Unravel this, and your day's work is done, your team may then unharness.
V.14 Tell me that, and unyoke.] Figure this out, and your day's work is done; your team can then take off the harness.
V.15 Cudgel thy brains no more about it;] i.e., beat about thy brains no more.
V.15 Stop overthinking it; i.e. don't dwell on it any longer.
V.17 In youth, when I did love, did love.] The three stanzas sung here by the Grave-Digger, are extracted, with a slight variation, from a little poem called The Aged Lover renounceth Love, written by Henry Howard, Earl of Surrey, who was beheaded in 1547. The song is to be found in Dr. Percy's Reliques of Ancient English Poetry.
V.17 When I was young and in love, in love.] The three stanzas sung here by the Grave-Digger are taken, with a slight variation, from a short poem called The Aged Lover Renounces Love, written by Henry Howard, Earl of Surrey, who was executed in 1547. The song can be found in Dr. Percy's Reliques of Ancient English Poetry.
V.18 The hand of little employment hath the daintier sense.] i.e., its "palm less dulled or staled."
V.18 People who have less work often have a finer sense. i.e., its "palm is less dulled or worn out."
V.19 But to play at loggats with them?] A loggat is a small log, or piece of wood; a diminutive from log. Hence loggats, as the name of an old game among the common people, and one of those forbidden by a statute of the 33rd of Henry VIII. A stake was fixed into the ground, and those who played threw loggats at it.
V.19 But to play at loggats with them?] A loggat is a small log or piece of wood; a smaller version of log. So loggats refers to an old game played by common folk, which was banned by a law from the 33rd of Henry VIII. A stake was put into the ground, and the players would throw loggats at it.
V.20 For and a shrouding sheet:] For and is an ancient expression, answering to and eke, and likewise.
V.20 For and a shrouding sheet:] "For and" is an old phrase, equivalent to and also, and similarly.
V.21 Where be his quiddits now, his quillets,] Quiddits are subtilties; quillets are nice and frivolous distinctions.
V.21 Where are his clever arguments now, his petty details,] Clever arguments are nuances; petty details are trivial and frivolous distinctions.
V.23 How absolute the knave is!] Peremptory, strictly and tyrannously precise.
V.23 How absolute the jerk is!] Demanding, rigid, and ruthlessly exact.
V.24 We must speak by the card,] The card is the mariner's compass. Properly the paper on which the points of the wind are marked. Hence, to speak by the card, meant to speak with great exactness; true to a point.
V.24 We have to be precise, The card refers to the mariner's compass. It's really the paper where the wind directions are marked. So, to speak by the card means to speak with great precision; true to a point.
V.25 The very day that young Hamlet was born,] It would appear by this that Hamlet was thirty years old, and knew Yorick well, who had been dead twenty-two years.
V.25 The very day that young Hamlet was born, It seems that Hamlet was thirty years old and knew Yorick well, who had been dead for twenty-two years.
V.26 Favour] Feature, countenance, or complexion.
__A_TAG_PLACEHOLDER_0__ Favor] Feature, appearance, or complexion.
V.27 'Twere to consider too curiously,] Be pressing the argument with too much critical nicety, to dwell upon mere possibilities.
V.27 It would be too much to analyze this too closely,] pushing the discussion with excessive precision, to focus on mere possibilities.
V.28 Imperial Cæsar,] In some edition it is imperious Cæsar. Imperious was a more ancient term, signifying the same as imperial.
V.28 Imperial Caesar,] In some versions, it's imperious Caesar. Imperious was an older term that meant the same as imperial.
V.29 The winter's flaw!] i.e., winter's blast.
__A_TAG_PLACEHOLDER_0__ The flaw of winter!] i.e., winter's chill.
V.30 Maimèd rites?] Curtailed, imperfect.
__A_TAG_PLACEHOLDER_0__ Maimed rituals?] Restricted, flawed.
V.31 Fordo its own life:] Destroy.
__A_TAG_PLACEHOLDER_0__ End its own life:] Destroy.
V.32 'Twas of some estate.] i.e., of rank or station.
V.32 It was of some importance. i.e., of rank or status.
V.33 Command o'ersways the order,] The course which ecclesiastical rules prescribe.
V.33 Command overrides the established order, The path that religious rules lay down.
V.34 Shards,] i.e., broken pots or tiles.
__A_TAG_PLACEHOLDER_0__ Shards: broken pottery or tiles.
V.35 Virgin crants,] i.e., virgin garlands. Nares, in his Glossary, says that crants is a German word, and probably Icelandic.
V.35 Virgin crants,] i.e., virgin garlands. Nares, in his Glossary, says that crants is a German word, and probably Icelandic.
V.36 Bringing home of bell and burial,] Conveying to her last home with these accustomed forms of the church, and this sepulture in consecrated ground.
V.36 Bringing home of bell and burial, Conveying to her final resting place with these traditional church practices and this burial in sacred ground.
V.37 A requiem,] A mass performed in Popish churches for the rest of the soul of a person deceased.
V.37 A requiem,] A mass held in Catholic churches for the eternal peace of someone who has passed away.
V.38 Churlish priest,] Churlish is, figuratively, ill-humoured, ill-bred, uncourtly, "rustic and rude."
V.38 Rude priest, Rude means, figuratively, bad-tempered, poorly brought up, uncivil, "unsophisticated and impolite."
V.39 Ingenious sense] Life and sense.
__A_TAG_PLACEHOLDER_0__ Creative insight] Life and meaning.
V.40 To o'ertop old Pelion,] Pelion is one of a lofty range of mountains in Thessaly. The giants, in their war with the gods, are said to have attempted to heap Ossa and Olympus on Pelion, in order to scale Heaven.
V.40 To surpass old Pelion, Pelion is one of the tall mountains in Thessaly. The giants, during their battle with the gods, supposedly tried to stack Ossa and Olympus on top of Pelion to reach Heaven.
V.41 Outface me] i.e., brave me.
__A_TAG_PLACEHOLDER_0__ Confront me] i.e., challenge me.
V.43 Ossa] A celebrated mountain in Thessaly, connected with Pelion, and in the neighbourhood of Mount Olympus.
V.43 Ossa] A famous mountain in Thessaly, linked to Pelion, and located near Mount Olympus.
V.44 Her golden couplets are disclos'd,] To disclose, was anciently used for to hatch. A pigeon never lays more than two eggs.
V.44 Her golden couplets are revealed,] To reveal was once used for to hatch. A pigeon never lays more than two eggs.
V.45 The cat will mew, and dog, &c.] "Things have their appointed course; nor have we power to divert it," may be the sense here conveyed.
V.45 The cat will meow, and the dog, etc. "Everything has its destined path, and we cannot change it," is the idea being expressed here.
V.46 Strengthen your patience in our last night's speech;] Let the consideration of the topics then urged, confirm your resolution taken of quietly waiting events a little longer.
V.46 Build your patience from our speech last night;] Let the reflection on the points discussed reinforce your decision to wait a bit longer for events to unfold.
V.47 This grave shall have a living monument:] There is an ambiguity in this phrase. It either means an endurable monument such as will outlive time, or it darkly hints at the impending fate of Hamlet.
V.47 This grave will have a lasting monument:] There’s a double meaning in this phrase. It could refer to a lasting monument that will endure beyond time, or it suggests the dark fate that awaits Hamlet.
V.48 Image of my cause,] Representation or character.
V.48 Image representing my cause, Representation or character.
V.49 Dost know this water-fly?] Dr. Johnson remarks that a water-fly skips up and down upon the surface of the water, without any apparent purpose or reason, and is thence the proper emblem of a busy trifler.
V.49 Do you know this water-fly?] Dr. Johnson points out that a water-fly bounces up and down on the surface of the water, without any clear purpose or reason, and is therefore the perfect symbol of a busy person who doesn't achieve anything meaningful.
V.50 All diligence of spirit.] "With the whole bent of my mind." A happy phraseology; in ridicule, at the same time that it was in conformity with the style of the airy, affected insect that was playing round him.
V.50 All diligence of spirit.] "With the full focus of my mind." A clever way of putting it; it's mocking while still matching the style of the light, pretentious bug fluttering around him.
V.51 Very sultry and hot,] Hamlet is here playing over the same farce with Osric which he had formerly done with Polonius. The idea of this scene is evidently suggested by Juvenal.
V.51 Very sultry and hot,] Hamlet is once again going through the same farce with Osric that he previously did with Polonius. The concept of this scene is clearly inspired by Juvenal.
V.52 For mine ease, in good faith.] From contemporary authors this appears to have been the ordinary language of courtesy in our author's own time.
V.52 For my comfort, honestly. From modern writers, this seems to have been the typical way of expressing politeness in our author's era.
V.53 An absolute—a great showing:] A finished gentleman, full of various accomplishments, of gentle manners, and very imposing appearance.
V.53 A perfect example—a remarkable sight:] A well-rounded man, full of different skills, with polite manners, and a very impressive look.
V.54 To speak feelingly of him,] With insight and intelligence.
V.54 To talk about him with emotion,] With understanding and smarts.
V.55 Card or calendar of gentry,] The card by which a gentleman is to direct his course; the calendar by which he is to choose his time, that what he does may be both excellent and seasonable.
V.55 Card or calendar of gentry,] The card that guides a gentleman's actions; the calendar that helps him pick the right moments, so that everything he does is both outstanding and timely.
V.56 The continent of what part a gentleman would see.] The word continent in this sense is frequently used by Shakespeare; i.e., you shall find him containing and comprising every quality which a gentleman would desire to contemplate for imitation.
V.56 The part of the continent a gentleman would notice. The term continent in this context is often used by Shakespeare; meaning, you will find him holding and including every quality that a gentleman would wish to reflect on for imitation.
V.57 What imports the nomination, &c.] What is the object of the introduction of this gentleman's name?
V.57 What imports the nomination, &c.] What is the purpose of bringing this gentleman's name into the discussion?
V.58 I dare not—lest I should compare—were to know himself.] No one can have a perfect conception of the measure of another's excellence, unless he shall himself come up to that standard. Dr. Johnson says, I dare not pretend to know him, lest I should pretend to an equality: no man can completely know another, but by knowing himself, which is the utmost extent of human wisdom.
V.58 I don’t dare—because I might compare—unless he knows himself. No one can fully grasp how great someone else is unless they meet that same standard themselves. Dr. Johnson says, I can’t claim to know him, because that would mean claiming equality: no one can fully understand another person without understanding themselves, which is the highest level of human wisdom.
V.59 He has imponed,] i.e., to lay down as a stake or wager. Impono.
V.59 He has imposed, i.e., to put down as a bet or wager. Impono.
V.60 Hangers,] That part of the girdle or belt by which the swords were suspended was, in our poet's time, called the hangers.
V.60 Hangers,] Back in the poet's time, the part of the girdle or belt that held the swords was referred to as the hangers.
V.61 Very dear to fancy—very liberal conceit.] Of exquisite invention, well adapted to their hilts, and in their conception rich and high fashioned.
V.61 Very dear to imagination—very generous idea. Of exquisite design, well suited to their handles, and in their concept, elaborate and high-end.
V.62 More german] More a-kin.
__A_TAG_PLACEHOLDER_0__ More German More related.
V.63 Vouchsafe the answer.] Condescend to answer, or meet his wishes.
V.63 Please provide an answer.] Lower yourself to respond or fulfill his requests.
V.65 I shall win at the odds.] I shall succeed with the advantage that I am allowed.
V.65 I will win against the odds.] I will succeed with the advantage that I have.
V.66 Gain-giving,] Misgiving.
__A_TAG_PLACEHOLDER_0__ Beneficial,] Doubt.
V.67 If your mind, &c.] If you have any presentiment of evil, yield to its suggestion.
V.67 If your mind, &c.] If you sense any hint of danger, listen to that instinct.
V.68 Like a star i'the darkest night, stick fiery off] Be made by the strongest relief to stand brightly prominent.
V.68 Like a star in the darkest night, shining brightly] Be made by the strongest contrast to stand out prominently.
V.69 Better'd,] He stands higher in estimation.
__A_TAG_PLACEHOLDER_0__ Enhanced, He is viewed more favorably.
V.71 Quit in answer] Make the wager quit, or so far drawn.
V.71 Quit in response] Take the bet quit, or pulled this far.
V.72 An union shall he throw,] i.e., a fine pearl. To swallow a pearl in a draught seems to have been equally common to royal and mercantile prodigality. It may be observed that pearls were supposed to possess an exhilarating quality. It was generally thrown into the drink as a compliment to some distinguished guest, and the King in this scene, under the pretence of throwing a pearl into the cup, drops some poisonous drug into the wine.
V.72 He shall throw in a union,] meaning, a fine pearl. Swallowing a pearl in a drink seems to have been common among both royalty and wealthy merchants. It's noted that pearls were believed to have an uplifting effect. They were often added to drinks as a gesture of honor for a special guest, and in this scene, the King, pretending to drop a pearl into the cup, is secretly putting poison in the wine.
V.73 Kettle] i.e., kettle drum.
__A_TAG_PLACEHOLDER_0__ Kettle] i.e., timpani.
V.74 The Queen carouses to thy fortune, Hamlet.] i.e., drinks to your success.
V.74 The Queen drinks to your success, Hamlet.] i.e., drinks to your success.
V.75 You make a wanton of me.] i.e., you trifle with me as if you were playing with a child.
V.75 You treat me like I’m a plaything. i.e. you mess with me as if I were just a kid.
V.76 As a woodcock to my own springe.] I have run into a springe like a woodcock, and into such a noose or trap as a fool only would have fallen into; one of my own setting.
V.76 Like a woodcock caught in my own springe. I have walked right into a trap like a woodcock, falling into a noose that only a fool would have stumbled into; one that I set myself.
V.77 Unbated, and envenom'd:] i.e., having a sharp point envenomed with poison.
V.77 Unbated, and envenom'd:] i.e., having a sharp point poisoned with venom.
V.78 The foul practice] i.e., the wicked trick which I have practised.
V.78 The terrible practice] i.e., the deceitful trick that I have used.
V.79 Fell sergeant, death,] i.e., cruel sergeant—sergeant being an officer of the law.
V.79 Fell sergeant, death,] i.e., cruel sergeant—sergeant being a law enforcement officer.
V.80 Live behind me!] Survive me.
__A_TAG_PLACEHOLDER_0__ Stay back!] Outlast me.
Electronic Transcriber's Note:
Transcriber's Note:
This is a heavily edited version of Hamlet. It was used for Charles Kean's 1859 stage production.
This is a heavily edited version of Hamlet. It was used for Charles Kean's 1859 stage production.
Footnotes originally appeared at the bottom of each page. For this electronic version the footnotes are collected at the end of each act.
Footnotes used to be at the bottom of each page. For this digital version, the footnotes are gathered at the end of each act.
For the HTML version, a table of contents has been added.
For the HTML version, a table of contents has been included.
In Act I, Scene 5, (pg. 28), the word Uumix'd has been changed to Unmix'd.
In Act I, Scene 5, (pg. 28), the word Uumix'd has been changed to Unmix'd.
A closing bracket ] was added to Act IV footnote 37 after Naked on your kingdom,.
A closing bracket ] was added to Act IV footnote 37 after Naked on your kingdom,.
A closing bracket ] was added to Act IV footnote 50 after Venom'd stuck,.
A closing bracket ] was added to Act IV footnote 50 after Venom'd stuck,.
The word o'er-crows appears in Act V, Scene 3, (pg. 104); in Act V footnote 81, o'ercrows appears without a hyphen. Both are as they appear in the book.
The word o'er-crows shows up in Act V, Scene 3, (pg. 104); in Act V footnote 81, o'ercrows appears without a hyphen. Both are as they are in the book.
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