The Tragedie of Hamlet, Prince of Denmark Part 27

_Ham_. I will Prophesie. Hee comes to tell me of the Players. Mark it, you say right Sir: for a [Sidenote: sir, a Monday]

Monday morning 'twas so indeed.[10] [Sidenote: t'was then indeede.]

_Pol_. My Lord, I haue Newes to tell you.

_Ham_. My Lord, I haue Newes to tell you.

When _Rossius_ an Actor in Rome----[11] [Sidenote: _Rossius_ was an]

_Pol_. The Actors are come hither my Lord.

_Ham_. Buzze, buzze.[12]

_Pol_. Vpon mine Honor.[13] [Sidenote: my]

_Ham_. Then can each Actor on his a.s.se---- [Sidenote: came each]

[Footnote 1: If there be any logical link here, except that, after the instance adduced, no change in social fas.h.i.+on--nothing at all indeed, is to be wondered at, I fail to see it. Perhaps the speech is intended to belong to the simulation. The last sentence of it appears meant to convey the impression that he suspects nothing--is only bewildered by the course of things.]

[Footnote 2: his miniature.]

[Footnote 3: --to indicate their approach.]

[Footnote 4: _com'ply_--accent on first syllable--'pa.s.s compliments with you' (260)--_in the garb_, either 'in appearance,' or 'in the fas.h.i.+on of the hour.']

[Footnote 5: 'the amount of courteous reception I extend'--'my advances to the players.']

[Footnote 6: reception, welcome.]

[Footnote 7: He seems to desire that they shall no more be on the footing of fellow-students, and thus to rid himself of the old relation.

Perhaps he hints that they are players too. From any further show of friendliness he takes refuge in convention--and professed convention--supplying a reason in order to escape a dangerous interpretation of his sudden formality--'lest you should suppose me more cordial to the players than to you.' The speech is full of inwoven irony, doubtful, and refusing to be ravelled out. With what merely half-shown, yet scathing satire it should be spoken and accompanied!]

[Footnote 8: A proverb of the time comically corrupted--_handsaw for hernshaw_--a heron, the quarry of the hawk. He denies his madness as madmen do--and in terms themselves not unbefitting madness--so making it seem the more genuine. Yet every now and then, urged by the commotion of his being, he treads perilously on the border of self-betrayal.]

[Footnote 9: used as a noun.]

[Footnote 10: _Point thus_: 'Mark it.--You say right, sir; &c.' He takes up a speech that means nothing, and might mean anything, to turn aside the suspicion their whispering might suggest to Polonius that they had been talking about him--so better to lay his trap for him.]

[Footnote 11: He mentions the _actor_ to lead Polonius so that his prophecy of him shall come true.]

[Footnote 12: An interjection of mockery: he had made a fool of him.]

[Footnote 13: Polonius thinks he is refusing to believe him.]

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_Polon_. The best Actors in the world, either for Tragedie, Comedie, Historic, Pastorall: Pastoricall- Comicall-Historicall-Pastorall: [1] Tragicall-Historicall: Tragicall-Comicall--Historicall-Pastorall[1]: Scene indiuible,[2] or Poem vnlimited.[3] _Seneca_ cannot [Sidenote: scene indeuidible,[2]]

be too heauy, nor _Plautus_ too light, for the law of Writ, and the Liberty. These are the onely men.[4]

_Ham_. O _Iephta_ Iudge of Israel, what a Treasure had'st thou?

_Pol_. What a Treasure had he, my Lord?[5]

_Ham_. Why one faire Daughter, and no more,[6]

The which he loued pa.s.sing well.[6]

[Sidenote: 86] _Pol_. Still on my Daughter.

_Ham_. Am I not i'th'right old _Iephta_?

_Polon_. If you call me _Iephta_ my Lord, I haue a daughter that I loue pa.s.sing well.

_Ham_. Nay that followes not.[7]

_Polon_. What followes then, my Lord?

_Ham_. Why, As by lot, G.o.d wot:[6] and then you know, It came to pa.s.se, as most like it was:[6] The first rowe of the _Pons[8] Chanson_ will shew you more, [Sidenote: pious chanson]

For looke where my Abridgements[9] come.

[Sidenote: abridgment[9] comes]

_Enter foure or fiue Players._ [Sidenote: _Enter the Players._]

Y'are welcome Masters, welcome all. I am glad [Sidenote: You are]

to see thee well: Welcome good Friends. O my [Sidenote: oh old friend, why thy face is valanct[10]]

olde Friend? Thy face is valiant[10] since I saw thee last: Com'st thou to beard me in Denmarke?

What, my yong Lady and Mistris?[11] Byrlady [Sidenote: by lady]

your Ladis.h.i.+p is neerer Heauen then when I saw [Sidenote: nerer to]

you last, by the alt.i.tude of a Choppine.[12] Pray G.o.d your voice like a peece of vncurrant Gold be not crack'd within the ring.[13] Masters, you are all welcome: wee'l e'ne to't like French Faulconers,[14]

[Sidenote: like friendly Fankner]

flie at any thing we see: wee'l haue a Speech

[Footnote 1: From [1] to [1] is not in the _Quarto_.]

[Footnote 2: Does this phrase mean _all in one scene_?]

[Footnote 3: A poem to be recited only--one not _limited_, or _divided_ into speeches.]

[Footnote 4: _Point thus_: 'too light. For the law of Writ, and the Liberty, these are the onely men':--_either for written plays_, that is, _or for those in which the players extemporized their speeches_.

_1st Q_. 'For the law hath writ those are the onely men.']

[Footnote 5: Polonius would lead him on to talk of his daughter.]

[Footnote 6: These are lines of the first stanza of an old ballad still in existence. Does Hamlet suggest that as Jephthah so Polonius had sacrificed his daughter? Or is he only desirous of making him talk about her?]

[Footnote 7: 'That is not as the ballad goes.']

[Footnote 8: That this is a corruption of the _pious_ in the _Quarto_, is made clearer from the _1st Quarto_: 'the first verse of the G.o.dly Ballet wil tel you all.']

[Footnote 9: _abridgment_--that which _abridges_, or cuts short. His 'Abridgements' were the Players.]