The cover image was created by the transcriber and is placed in the public domain.

THE WORKS

WILLIAM SHAKESPEARE

THE WORKS
OF
WILLIAM SHAKESPEARE

EDITED BY

WILLIAM GEORGE CLARK, M.A.
FELLOW AND TUTOR OF TRINITY COLLEGE, AND PUBLIC ORATOR IN THE UNIVERSITY OF CAMBRIDGE;

AND WILLIAM ALDIS WRIGHT, M.A.
LIBRARIAN OF TRINITY COLLEGE, CAMBRIDGE.

VOLUME VIII.

London and Cambridge:
MACMILLAN AND CO.
1866.

CAMBRIDGE:
PRINTED BY C. J. CLAY, M.A.
AT THE UNIVERSITY PRESS.

CONTENTS.

	PAGE
The Preface	[vii]
Hamlet	[3]
Notes to Hamlet	[185]
The Tragicall Historie of Hamlet Prince of Denmarke	[197]
King Lear	[249]
Notes to King Lear	[427]
Othello	[437]
Notes to Othello	[593]

PREFACE.

1. The earliest edition of Hamlet appeared in 1603, with the following title-page:

We refer to it as (Q₁).

A copy of this edition belonged to Sir Thomas Hanmer, though he does not appear to have mentioned it in his notes to Shakespeare or in his correspondence, and its existence was not known till his library came into the possession of Sir E. H. Bunbury in 1821. In a copy of the Reprint of 1825, now at Barton, Sir E. H. Bunbury wrote the following note:

'The only copy of this edition of Hamlet (1603) which is known to be in existence was found by me in the Library at Barton when it came into my possession in 1821. The Hamlet was bound up with ten others of the small 4to editions of Shakespeare's Plays (1598 to 1603) and with The Two Noble Kinsmen (1634). Most of these were complete. I sold the volume in Dec. 1824 for £180 to Messrs Payne and Foss, who resold it to the Duke of Devonshire for £230.'

This copy wanted the last leaf containing the 22 concluding lines. A second copy, wanting the title-page but otherwise perfect, was discovered in 1856 by Mr W. H. Rooney of Dublin. 'It was bought,' says Mr Timmins, 'by Mr Rooney from a student of Trinity College, Dublin, who had brought it from Nottinghamshire with his other books. After reprinting the last leaf, Mr Rooney sold the pamphlet to Mr Boone for £70, from whom Mr J. O. Halliwell bought it for £120, and it is now in the British Museum.'

We have reprinted this edition, and recorded in foot-notes the few discrepancies which are found between the two copies.

An extremely accurate reprint was made from the Devonshire copy in 1825, and it was lithographed in facsimile, with the addition of the missing leaf, in 1858, under the direction of Mr Collier and at the expense of the Duke. In 1860 Mr J. Allen, Junr., reprinted this edition and the Quarto of 1604, placing the corresponding passages as nearly as possible on opposite pages, with a preface by Mr Samuel Timmins.

The edition of 1603 is obviously a very imperfect reproduction of the play, and there is every reason to believe that it was printed from a manuscript surreptitiously obtained. This manuscript may have been compiled in the first instance from short hand notes taken during the representation, but there are many errors in the printed text which seem like errors of a copyist rather than of a hearer. Compare for example lines 37, 38 of Scene iii. of our Reprint, p. 205, with the corresponding lines of the more perfect drama as it was printed in the Quarto of 1604, Act i. Scene 3, lines 73, 74, p. 26.

In the Quarto of 1603 the passage runs thus:

And they of France of the chiefe rancke and station
Are of a most select and generall chiefe in that:

In that of 1604:

'And they in Fraunce of the best ranck and station,
Or of a most select and generous, chiefe in that:'

It is clear that the corruption in both passages is due to an error in the transcript from which both were copied. Probably the author had originally written:

'And they in France of the best rank and station
Are most select and generous in that:'

and then given between the lines or in the margin, 'of,' 'chief', meaning these as alternative readings for 'in' and 'best' in the first line. The transcriber by mistake inserted them in the second line. A few lines above both Quartos give 'courage' for 'comrade,' a mistake due undoubtedly to the eye and not to the ear.

We believe then that the defects of the manuscript from which the Quarto of 1603 was printed had been in part at least supplemented by a reference to the authentic copy in the library of the theatre. Very probably the man employed for this purpose was some inferior actor or servant, who would necessarily work in haste and by stealth, and in any case would not be likely to work very conscientiously for the printer or bookseller who was paying him to deceive his masters.

The Quarto of 1604, which we call Q₂, has the following title-page:

The printer 'I. R.' was no doubt, as Mr Collier says, James Roberts, who had made an entry in the books of the Stationers' company as early as July 26, 1602, of 'A booke, The Revenge of Hamlett prince of Denmarke, as yt was latelie acted by the Lord Chamberleyn his servantes.'

For some unknown reason the projected edition was delayed, and in the mean time the popularity of the play encouraged N. L., i.e. Nicholas Ling, and the other publisher, Trundell, to undertake a surreptitious edition.

In the interval between the two editions Shakespeare seems to have changed the names of some of his Dramatis Personæ, substituting 'Polonius' for 'Corambis' and 'Reynaldo' for 'Montano.' He may also have changed the order of one or two scenes, and here and there erased or inserted a few lines, but we think that no substantial change was made, and that the chief differences between (Q₁) and Q₂ are only such as might be expected between a bona fide, and a mala fide, transcription.

The Quarto of 1605, which we call Q₃, is not, properly speaking, a new edition, being printed from the same forms as Q₂, and differing from it no more than one copy of the same edition may differ from another. The title-page differs only in the date, where 1605 is substituted for 1604.

Another Quarto, our Q₄, printed in 1611, bears a title-page which does not substantially differ from that of Q₃, except that it is said to be:

'Printed for Iohn Smethwicke, and are to be sold at his shoppe | in Saint Dunstons Church-yeard in Fleetstreet. | Under the Diall. 1611. |'

Another Quarto, without date, is said on the title-page to be 'Newly imprinted and inlarged, according to the true | and perfect Copy lastly Printed,' and to be 'Printed by W. S. for Iohn Smethwicke.' Otherwise the title-page is identical with that of Q₄. Mr Collier supposes this undated Quarto to have been printed in 1607, because there is an entry in the Stationers' books of that year and no edition with that date is known to exist. We are convinced however that the undated Quarto was printed from that of 1611, and we have therefore called it Q₅.

Another Quarto, printed 'by R. Young for John Smethwicke,' was published in 1637. This we call Q₆. It is printed from Q₅, though the spelling is considerably modernized and the punctuation amended.

The symbol Qq signifies the agreement of Q₂, Q₃, Q₄, Q₅ and Q₆.

Besides these, several editions, usually known as Players' Quartos, were printed at the end of the seventeenth and beginning of the following century. Of these we have had before us during our collation, editions of 1676, 1685, 1695 and 1703. These we call respectively Q(1676), Q(1685), Q(1695) and Q(1703). We have given all readings which seemed in any way remarkable, though we need scarcely say that the changes made in these editions have no authority whatever. It is however worthy of notice that many emendations usually attributed to Rowe and Pope are really derived from one or other of these Players' Quartos. When we give a reading as belonging to one of these Quartos, it is to be understood that it occurs there for the first time and that all the subsequent Quartos adopt it.

The text of Hamlet given in the Folio of 1623 is not derived from any of the previously existing Quartos, but from an independent manuscript. Many passages are found in the Folio which do not appear in any of the Quartos. On the other hand many passages found in the Quartos are not found in the Folio. It is to be remarked that several of those which appear in the Folio and not in the Quarto of 1604 or its successors, are found in an imperfect form in the Quarto of 1603, and therefore are not subsequent additions. Both the Quarto text of 1604 and the Folio text of 1623 seem to have been derived from manuscripts of the play curtailed, and curtailed differently, for purposes of representation. Therefore in giving in our text all the passages from both Folio and Quarto we are reproducing, as near as may be, the work as it was originally written by Shakespeare, or rather as finally retouched by him after the spurious edition of 1603.

We have been unable to procure a copy of the Quarto edition of this play, edited in 1703 by 'the accurate Mr John Hughs' (Theobald's Shakespeare Restored, p. 26), and have therefore quoted the readings of it on Theobald's authority. It is different from the Players' Quarto of 1703, and is not mentioned in Bohn's edition of Lowndes's Bibliographer's Manual. No copy of it exists in the British Museum, the Bodleian, the library of the Duke of Devonshire, the Capell collection, or any other to which we have had access.

We have to thank Dr C. M. Ingleby for the loan of several editions of Hamlet which we should otherwise have had difficulty in procuring.

2. King Lear first appeared in 1608. In this year there were two editions in Quarto. One bears the following title:

The printer's device is that of J. Roberts.

This we have called Q₁. In the few instances in which there are differences between Capell's copy and that in the Duke of Devonshire's library, we have distinguished the readings as those of Q₁ (Cap.) and Q₁ (Dev.) respectively. Through the kindness of Sir S. Morton Peto and Mr Lilly, we have been enabled to collate two other copies, but without discovering any variations from that in the Capell collection.

In the same year another Quarto edition of this play was issued by the same publisher. Its title is as follows:

We have called this Q₂. In the six copies we have collated there are a large number of very curious and important variations. To distinguish them we have made use of the following notation.

1. Q₂ (Cap.) The copy in Capell's collection.

2. Q₂ (Dev.) The copy in the Library of the Duke of Devonshire.

3. Q₂ (Mus. per.) A perfect copy in the British Museum (C. 34. K. 18).

4. Q₂ (Mus. imp.) An imperfect copy (wanting title) in the British Museum (C. 34. K. 17); formerly in the possession of Mr Halliwell.

5. Q₂ (Bodl. 1). A copy in the Bodleian Library (Malone 35), with the title, but wanting the last leaf.

6. Q₂ (Bodl. 2). A copy in the Bodleian Library (Malone 37), wanting title but having the last leaf.

It has been supposed in consequence of statements made by Malone and Boswell that a third edition of King Lear was published in 1608. We shall show that there is no evidence for this. In the Variorum Shakespeare (ii. 652), edited by Boswell in 1821, three Quartos are described, which are distinguished in the notes to the play by the letters A, B, C, respectively. The first of these is a copy of Q₂, quoted by us as Q₂ (Bodl. 1); the second is a copy of Q₁; and the third, which is in reality another copy of Q₂ and is quoted by us as Q₂ (Bodl. 2), is described as follows:

"Title the same as the two former, except that like the first it begins at signature B: and like the second, has no reference to the place of sale."

This statement of Boswell's is taken from a note in Malone's handwriting prefixed to the copy in question, which we transcribe.

"This copy of King Lear differs in some particulars from the two others in Vol. IV.

"The title-page of it is the same as the second of those copies, that is, it has no direction to the place of sale, and the first signat. is B,—notwithstanding which there are minute diversities; thus, in this copy in H₃ verso, we have 'A foole vsurps my bed'; in the other whose first signature is also B, we find—'My foote usurps my body', and in the copy without any direction to the place of sale (whose first signature is A) 'My foote usurps my head'."

Now it is a little remarkable that at present the copy has no title-page at all, and there is no trace of the title-page having been removed since the volume has been in its present condition. The probability is that the title was originally wanting and that one had been supplied from a copy of Q₁ before it came into Malone's hands, and that while it was in this condition he wrote the above note upon it. It was then sent to be bound in a volume with other quartos, and the title may have been lost at the binder's, or may have been intentionally removed as not belonging to the book. That alterations were made by the binder is evident from the fact that the copy to which Malone refers as the second of those in Vol. IV. is in reality the first. Malone, writing his note when Vol. IV. was arranged for binding, described the then order of the plays, which must afterwards have been altered. In any case, however Malone's statement is to be accounted for, it is quite clear that Boswell must have described the Quarto after it was bound, when the title could not have existed.

We have said that Boswell quotes the three Quartos of Lear, now in the Bodleian, by the letters A, B, C, respectively. In doing so, however, he is not consistent. We record his mistakes that others may not be misled by them. Bearing in mind therefore that A = Q₂ (Bodl. 1), B = Q₁, and C = Q₂ (Bodl. 2), we find in Act II. Scene 2 (Vol. X. p. 97) 'Quarto B, ausrent; Quarto A, reads unreverent.' Here B and A should change places. In Act III. Scene 7 (p. 188), 'Quarto A omits roguish:' for A read C. In Act IV. Scene 2 (p. 199), for 'Quartos B and C, the whistling,' read 'Quarto C' alone. In Act IV. Scene 6 (p. 220) B and A should again be interchanged. In Act V. Scene 3 (p. 277), 'Quarto A omits this line'; for A read B. It will be seen from these instances that A has been in turn made to represent three different copies.

The differences in various copies of Q₂ are accounted for by supposing that the corrections were made before the sheets were all worked off, and that the corrected and uncorrected sheets were bound up indiscriminately. It will be observed that the readings of the uncorrected sheets of Q₂ agree for the most part with those of Q₁, and this led us to the conclusion which had previously been arrived at by Capell and also by J. P. Kemble, that the edition which we have called Q₁ was the earlier of the two printed in the same year. But upon collating a copy of Q₂ in the Bodleian, which we have called Q₂ (Bodl. 1), we found evidence which points to an opposite conclusion. In Kent's soliloquy (II. 2. 160) that copy, as will be seen in our notes, reads,

nothing almost sees my rackles
But miserie, &c.

which of course is an accidental corruption, by displacement of the type, of 'myrackles' (i.e. 'miracles') the true reading. In the corrected copies of Q₂ this is altered, apparently by the printer's conjecture, to 'my wracke', which is also the reading of Q₁. Throughout the sheet in which this occurs the readings of Q₁ agree with the corrected copies of Q₂, and had it not been for the instance quoted, we might have supposed that the corrections in the latter were made from Q₁. But the corruption 'my rackles' for 'miracles' must have come from the original MS., and 'my wracke' is only a conjectural emendation, so that the order of succession in this sheet at least appears to be the following. First the uncorrected copy of Q₂, then the same corrected, and lastly Q₁. On the other hand it is remarkable that Q₁, if printed from Q₂ at all, must have been printed from a copy made up, with the exception just mentioned from II. 1. 128 to II. 4. 133, and another containing from IV. 6. 224 to V. 3. 64, of uncorrected sheets. Another hypothesis which might be made is that Q₁ and Q₂ were printed from the same manuscript, and that the printer of Q₁ corrupted 'miracles' into 'my wracke', while the printer of Q₂ made it 'my rackles', which was afterwards altered by a reference to Q₁. The question, however, is very difficult to decide, and at most is one rather of bibliographical curiosity than of critical importance. We may mention that, without giving the reasons for his conclusion, Jennens, in his edition of Lear in 1770, quotes as the 1st Quarto that which we have called Q₂ and vice versa.

A third Quarto, which we have called Q₃, was printed very carelessly page for page from Q₁ and published in 1655.

In the first Folio King Lear was printed from an independent manuscript, and its text is on the whole much superior to that of the Quartos. Each however supplies passages which are wanting in the other.

Capell appears to have prepared the play for press in the first instance from Pope's first edition. The manuscript readings and stage directions, marked in his copy of that edition but not adopted in his own, we have quoted as 'Capell MS'.

3. Othello was first printed in Quarto in 1622 with the following title:

To this edition which we call Q₁, the following preface was affixed by the publisher:

The Stationer to the Reader.

To set forth a booke without an Epistle, were like to the old English prouerbe, A blew coat without a badge, & the Author being dead, I thought good to take that piece of worke vpon mee: To commend it, I will not, for that which is good, I hope euery man will commend, without intreaty: and I am the bolder, because the Authors name is sufficient to vent his worke. Thus leauing euery one to the liberty of iudgement: I haue ventered to print this Play, and leaue it to the generall censure.

Yours,

Thomas Walkley.

This first Quarto contains many oaths and expletives, which in all the later editions are altered or omitted. This shows that the MS. from which it was printed had not been recently used as an acting copy. Many passages are omitted in Q₁, by accident or design, and some which we find only in the later editions look like afterthoughts of the author.

The title-page of the second Quarto is letter for letter the same as the first, except that it has the following imprint:

LONDON,| Printed by A. M. for Richard Hawkins, and are to be sold at | his shoppe in Chancery-Lane, neere Sergeants-Inne. | 1630. |

Of this Quarto, which we term Q₂, Mr Collier says: 'It was unquestionably printed from a manuscript different from that used for the Quarto of 1622, or for the Folio of 1623.' But after a minute comparison of the two it appears to us clear that the Quarto of 1630 must have been printed from a copy of the Quarto of 1622, which had received additions and corrections in manuscript. The resemblances between the two are too close to allow of any other supposition. These additions and corrections, though agreeing for the most part with the first Folio, which had appeared in the interval, were derived from an independent source.

The third Quarto, which we refer to as Q₃, was printed from the second, and is called 'The Fourth Edition.' It has the following imprint:

LONDON, | Printed for William Leak at the Crown in Fleet- | street, between the two Temple Gates, 1655 |

Jennens, in his edition of Othello, published in 1773, was not aware of the existence of the Quarto of 1630, and quotes as the readings of the second Quarto those of the edition of 1655.

An edition in Quarto, without date, is quoted by Capell on the authority of Pope; but on reference to Pope's list it appears that, though he has omitted the date, he refers to the Quarto of 1622, which contains the publisher's preface.

The kindness of Sir S. Morton Peto has enabled us to consult a copy of the first Quarto in the library at Chipstead, which, in cases where its readings differ from those of the copies in the Capell and Devonshire collections, we have distinguished as Q₁ (Chip.) A Players' Quarto of 1695, for the use of which, as well as for other acts of kindness, we have to thank Sir Charles Bunbury, is quoted as Q (1695).

In the Addenda we have given some readings which we had not previously seen from an anonymous tract published in 1752, with the title, Miscellaneous Observations on the Tragedy of Hamlet, Prince of Denmark. The rest are chiefly from books which have been published since the greater part of our volume was struck off.

W. G. C.
W. A. W.

ADDENDA.

Hamlet, I. 1. 117, 118. Add to note, As stars with ... Distempered or As stars with ... Discoloured Staunton conj.

I. 4. 36, 37. Add to note, the dram of leaven ... of a dough Cartwright conj. the dram of evil ... oft weigh down Bailey conj.

I. 4. 73. your ... reason] of sovereignty your Hunter conj.

I. 5. 11. And for] Tho' in Anon. MS.

I. 5. 32, 34. shouldst ... Wouldst] wouldst ... Shouldst Anon. conj. (Misc. Obs. on Hamlet, 1752).

II. 2. 82. Add to note, And think upon and answer Anon. conj. (Misc. Obs. on Hamlet, 1752).

II. 2. 140. out of thy star] out of thy soar Bailey conj.

II. 2. 162. Be ... then;] Let ... then Anon. conj. (Misc. Obs. on Hamlet, 1752).

II. 2. 438, 439. tyrannous ... murder] treacherous and damned light To the vile murtherer Anon. conj. (Misc. Obs. on Hamlet, 1752).

III. 1. 58. slings and arrows] stings and harrows Anon. conj. (Misc. Obs. on Hamlet, 1752). stings and horrors Anon. MS.

III. 2. 21. scorn] sin Bailey conj.

III. 2. 22. the very age] the visage Bailey conj.

III. 2. 23. pressure] posture Bailey conj.

III. 2. 206. Nor ... give] Let earth not give me Anon. conj. (Misc. Obs. on Hamlet, 1752).

III. 3. 15. The cease of] Deceasing Bailey conj.

III. 3. 169. Add to note, And either house Bailey conj.

IV. 7. 112. begun] begnawn Bailey conj.

V. 2, 180. and outward ... a kind] and out of the habit of encounter get a kind Bailey conj.

V. 2. 180, 181. collection] diction Bailey conj.

V. 2. 182. Add to note, profound and renowned Bailey conj.

King Lear, I. 1. 72. Add to note, precious treasure Bailey conj.

I. 1. 226. Add to note, burden, or Bailey conj.

II. 4. 92. Add to note, Fiery? what? quality? Taylor conj. MS.

HAMLET.

DRAMATIS PERSONÆ [A].

Claudius, king of Denmark.
Hamlet, son to the late, and nephew to the present king.
Polonius, lord chamberlain.
Horatio, friend to Hamlet.
Laertes, son to Polonius.
Voltimand,	courtiers.
Cornelius,
Rosencrantz,
Guildenstern,
Osric,
A Gentleman,
A Priest.
Marcellus,	officers.
Bernardo,	officers.
Francisco, a soldier.
Reynaldo, servant to Polonius.
Players.
Two Clowns, grave-diggers.
Fortinbras, prince of Norway.
A Captain.
English Ambassadors.

Gertrude, queen of Denmark, and mother to Hamlet.
Ophelia, daughter to Polonius.

Lords, Ladies, Officers, Soldiers, Sailors, Messengers, and other Attendants.

Ghost of Hamlet's Father.

Scene: Denmark[B].

[A] Dramatis Personæ.] First given by Rowe.

[B] Denmark] Edd. (Globe ed.) Elsinoor. Rowe.

THE TRAGEDY OF
HAMLET
PRINCE OF DENMARK.

ACT I.

Scene I. Elsinore. A platform before the castle.

Francisco at his post. Enter to him Bernardo.[1]

Ber. Who's there?[2][3]

Fran. Nay, answer me: stand, and unfold yourself.[3]

Ber. Long live the king![3]

Fran. Bernardo?[3][4]

Ber. He.[3] 5

Fran. You come most carefully upon your hour.[5]

Ber. 'Tis now struck twelve; get thee to bed, Francisco.[6]

Fran. For this relief much thanks: 'tis bitter cold,
And I am sick at heart.

Ber. Have you had quiet guard?

Fran. Not a mouse stirring. 10

Ber. Well, good night.[7]
If you do meet Horatio and Marcellus,[7][8]
The rivals of my watch, bid them make haste.[7][8]

Fran. I think I hear them. Stand, ho! Who is there?[9]

Enter Horatio and Marcellus.

Hor. Friends to this ground.

Mar. And liegemen to the Dane. 15

Fran. Give you good night.[10]

Mar. O, farewell, honest soldier:[11][12]
Who hath relieved you?[13]

Fran. Bernardo hath my place.[13]
Give you good night. [Exit.[10][13]

Mar. Holla! Bernardo!

Ber. Say,[14][15]
What, is Horatio there?[14]

Hor. A piece of him.[16]

Ber. Welcome, Horatio: welcome, good Marcellus. 20

Mar. What, has this thing appear'd again to-night?[17]

Ber. I have seen nothing.

Mar. Horatio says 'tis but our fantasy,[18]
And will not let belief take hold of him
Touching this dreaded sight, twice seen of us:[19] 25
Therefore I have entreated him along [20]
With us to watch the minutes of this night,[20]
That if again this apparition come,
He may approve our eyes and speak to it.

Hor. Tush, tush, 'twill not appear.

Ber. Sit down awhile;[21] 30
And let us once again assail your ears,
That are so fortified against our story,[22]
What we have two nights seen.[22][23]

Hor. Well, sit we down,
And let us hear Bernardo speak of this.

Ber. Last night of all, 35
When yond same star that's westward from the pole [24]
Had made his course to illume that part of heaven [25]
Where now it burns, Marcellus and myself,
The bell then beating one,—[26]

Enter Ghost.

Mar. Peace, break thee off; look, where it comes again![27] 40

Ber. In the same figure, like the king that's dead.

Mar. Thou art a scholar; speak to it, Horatio.

Ber. Looks it not like the king? mark it, Horatio.[28]

Hor. Most like: it harrows me with fear and wonder.[29]

Ber. It would be spoke to.

Mar. Question it, Horatio.[30] 45

Hor. What art thou, that usurp'st this time of night,[31]
Together with that fair and warlike form
In which the majesty of buried Denmark
Did sometimes march? by heaven I charge thee, speak![32]

Mar. It is offended.

Ber. See, it stalks away! 50

Hor. Stay! speak, speak! I charge thee, speak![33]

[Exit Ghost.

Mar. 'Tis gone, and will not answer.

Ber. How now, Horatio! you tremble and look pale:
Is not this something more than fantasy?
What think you on't?[34] 55

Hor. Before my God, I might not this believe [35]
Without the sensible and true avouch [36]
Of mine own eyes.

Mar. Is it not like the king?

Hor. As thou art to thyself:
Such was the very armour he had on [37] 60
When he the ambitious Norway combated;[38]
So frown'd he once, when, in an angry parle,
He smote the sledded Polacks on the ice.[39]
'Tis strange.[40]

Mar. Thus twice before, and jump at this dead hour,[41] 65
With martial stalk hath he gone by our watch.[42]

Hor. In what particular thought to work I know not;[43]
But, in the gross and scope of my opinion,[44]
This bodes some strange eruption to our state.

Mar. Good now, sit down, and tell me, he that knows,[45] 70
Why this same strict and most observant watch
So nightly toils the subject of the land,[46]
And why such daily cast of brazen cannon,[47]
And foreign mart for implements of war;
Why such impress of shipwrights, whose sore task 75
Does not divide the Sunday from the week;[48]
What might be toward, that this sweaty haste
Doth make the night joint-labourer with the day:[49]
Who is't that can inform me?

Hor. That can I;
At least the whisper goes so. Our last king, 80
Whose image even but now appear'd to us,
Was, as you know, by Fortinbras of Norway,
Thereto prick'd on by a most emulate pride,[50]
Dared to the combat; in which our valiant Hamlet—[51]
For so this side of our known world esteem'd him— 85
Did slay this Fortinbras; who by a seal'd compact,[52]
Well ratified by law and heraldry,[53]
Did forfeit, with his life, all those his lands [54]
Which he stood seized of, to the conqueror:[55]
Against the which, a moiety competent 90
Was gaged by our king; which had return'd [56]
To the inheritance of Fortinbras,
Had he been vanquisher; as, by the same covenant [57]
And carriage of the article design'd,[58]
His fell to Hamlet. Now, sir, young Fortinbras,[59] 95
Of unimproved mettle hot and full,[60]
Hath in the skirts of Norway here and there
Shark'd up a list of lawless resolutes,[61][62]
For food and diet, to some enterprise[62]
That hath a stomach in't: which is no other—[63] 100
As it doth well appear unto our state—[64]
But to recover of us, by strong hand
And terms compulsatory, those foresaid lands [65]
So by his father lost: and this, I take it,
Is the main motive of our preparations, 105
The source of this our watch and the chief head
Of this post-haste and romage in the land.

Ber. I think it be no other but e'en so:[66][67]
Well may it sort, that this portentous figure[66]
Comes armed through our watch, so like the king[66] 110
That was and is the question of these wars.[66]

Hor. A mote it is to trouble the mind's eye.[66][68]
In the most high and palmy state of Rome,[66][69]
A little ere the mightiest Julius fell,[66]
The graves stood tenantless, and the sheeted dead[66][70] 115
Did squeak and gibber in the Roman streets:[66][71]
. . . . . . .
As stars with trains of fire and dews of blood,[66][72][73]
Disasters in the sun; and the moist star,[66][74][73]
Upon whose influence Neptune's empire stands,[66]
Was sick almost to doomsday with eclipse:[66] 120
And even the like precurse of fierce events,[66][75]
As harbingers preceding still the fates[66][76]
And prologue to the omen coming on,[66][77]
Have heaven and earth together demonstrated[66]
Unto our climatures and countrymen.[66][78] 125

Re-enter Ghost.

But soft, behold! lo, where it comes again!
I'll cross it, though it blast me. Stay, illusion![79]
If thou hast any sound, or use of voice,
Speak to me:[80]
If there be any good thing to be done,[80] 130
That may to thee do ease and grace to me,[81]
Speak to me:[81]
If thou art privy to thy country's fate,
Which, happily, foreknowing may avoid,[82][83]
O, speak![82] 135
Or if thou hast uphoarded in thy life
Extorted treasure in the womb of earth,
For which, they say, you spirits oft walk in death,[84]
Speak of it: stay, and speak! [The cock crows.] Stop it, Marcellus.[85]

Mar. Shall I strike at it with my partisan?[86] 140

Hor. Do, if it will not stand.[87][88]

Ber. 'Tis here![87]

Hor. 'Tis here![87]

Mar. 'Tis gone! [Exit Ghost.[87][89]
We do it wrong, being so majestical,
To offer it the show of violence;
For it is, as the air, invulnerable,[90] 145
And our vain blows malicious mockery.

Ber. It was about to speak, when the cock crew.

Hor. And then it started like a guilty thing
Upon a fearful summons. I have heard,
The cock, that is the trumpet to the morn,[91] 150
Doth with his lofty and shrill-sounding throat
Awake the god of day, and at his warning,[92]
Whether in sea or fire, in earth or air,[92]
The extravagant and erring spirit hies[92][93]
To his confine: and of the truth herein[92] 155
This present object made probation.

Mar. It faded on the crowing of the cock.[94]
Some say that ever 'gainst that season comes [95]
Wherein our Saviour's birth is celebrated,
The bird of dawning singeth all night long:[96] 160
And then, they say, no spirit dare stir abroad,[97]
The nights are wholesome, then no planets strike,
No fairy takes nor witch hath power to charm,[98]
So hallow'd and so gracious is the time.[99]

Hor. So have I heard and do in part believe it. 165
But look, the morn, in russet mantle clad,
Walks o'er the dew of yon high eastward hill:[100]
Break we our watch up; and by my advice,[101]
Let us impart what we have seen to-night
Unto young Hamlet; for, upon my life,[102] 170
This spirit, dumb to us, will speak to him:
Do you consent we shall acquaint him with it,[103]
As needful in our loves, fitting our duty?

Mar. Let's do't, I pray; and I this morning know [104]
Where we shall find him most conveniently. [Exeunt.[105] 175

Scene II. A room of state in the castle.

Flourish. Enter the King, Queen, Hamlet, Polonius, Laertes, Voltimand, Cornelius, Lords, and Attendants.[106]

King. Though yet of Hamlet our dear brother's death [107]
The memory be green, and that it us befitted[107][108]
To bear our hearts in grief and our whole kingdom [109]
To be contracted in one brow of woe,
Yet so far hath discretion fought with nature 5
That we with wisest sorrow think on him,
Together with remembrance of ourselves.
Therefore our sometime sister, now our queen,[110]
The imperial jointress to this warlike state,[111]
Have we, as 'twere with a defeated joy,— 10
With an auspicious and a dropping eye,[112]
With mirth in funeral and with dirge in marriage,
In equal scale weighing delight and dole,—
Taken to wife: nor have we herein barr'd
Your better wisdoms, which have freely gone 15
With this affair along. For all, our thanks.[113]
Now follows, that you know, young Fortinbras,[114]
Holding a weak supposal of our worth,
Or thinking by our late dear brother's death
Our state to be disjoint and out of frame, 20
Colleagued with this dream of his advantage,[115]
He hath not fail'd to pester us with message,
Importing the surrender of those lands
Lost by his father, with all bonds of law,[116]
To our most valiant brother. So much for him.[117] 25
Now for ourself, and for this time of meeting:[118]
Thus much the business is: we have here writ
To Norway, uncle of young Fortinbras,—
Who, impotent and bed-rid, scarcely hears [119]
Of this his nephew's purpose,—to suppress 30
His further gait herein; in that the levies,[120]
The lists and full proportions, are all made
Out of his subject: and we here dispatch [121]
You, good Cornelius, and you, Voltimand,[122]
For bearers of this greeting to old Norway,[123] 35
Giving to you no further personal power [124]
To business with the king more than the scope[124]
Of these delated articles allow.[125]
Farewell, and let your haste commend your duty.[126]

Cor. } In that and all things will we show our duty.[127] 40
Vol. }

King. We doubt it nothing: heartily farewell.[128]

[Exeunt Voltimand and Cornelius.

And now, Laertes, what's the news with you?[129]
You told us of some suit; what is't, Laertes?
You cannot speak of reason to the Dane,
And lose your voice: what wouldst thou beg, Laertes,[130] 45
That shall not be my offer, not thy asking?[131]
The head is not more native to the heart,[132]
The hand more instrumental to the mouth,
Than is the throne of Denmark to thy father.[133]
What wouldst thou have, Laertes?

Laer. My dread lord,[134] 50
Your leave and favour to return to France,
From whence though willingly I came to Denmark,
To show my duty in your coronation,
Yet now, I must confess, that duty done,
My thoughts and wishes bend again toward France [135] 55
And bow them to your gracious leave and pardon.

King. Have you your father's leave? What says Polonius?[136]

Pol. He hath, my lord, wrung from me my slow leave [137][138][139]
By laboursome petition, and at last[138][139][140]
Upon his will I seal'd my hard consent:[139] 60
I do beseech you, give him leave to go.

King. Take thy fair hour, Laertes; time be thine,[141]
And thy best graces spend it at thy will![141][142]
But now, my cousin Hamlet, and my son,—[143]

Ham. [Aside] A little more than kin, and less than kind.[144]65

King. How is it that the clouds still hang on you?

Ham. Not so, my lord; I am too much i' the sun.[145]

Queen Good Hamlet, cast thy nighted colour off,[146]
And let thine eye look like a friend on Denmark.
Do not for ever with thy vailed lids [147] 70
Seek for thy noble father in the dust:
Thou know'st 'tis common; all that lives must die,[148]
Passing through nature to eternity.

Ham. Ay, madam, it is common.

Queen. If it be,
Why seems it so particular with thee? 75

Ham. Seems, madam! nay, it is; I know not 'seems.'
'Tis not alone my inky cloak, good mother,[149]
Nor customary suits of solemn black,
Nor windy suspiration of forced breath,
No, nor the fruitful river in the eye, 80
Nor the dejected haviour of the visage,
Together with all forms, moods, shapes of grief,[150]
That can denote me truly: these indeed seem,[151]
For they are actions that a man might play:
But I have that within which passes show;[152] 85
These but the trappings and the suits of woe.

King. 'Tis sweet and commendable in your nature, Hamlet,[153]
To give these mourning duties to your father:
But, you must know, your father lost a father,
That father lost, lost his, and the survivor bound [154] 90
In filial obligation for some term
To do obsequious sorrow: but to persever [155]
In obstinate condolement is a course [156]
Of impious stubbornness; 'tis unmanly grief:[156][157]
It shows a will most incorrect to heaven, 95
A heart unfortified, a mind impatient,[158]
An understanding simple and unschool'd:
For what we know must be and is as common
As any the most vulgar thing to sense,
Why should we in our peevish opposition 100
Take it to heart? Fie! 'tis a fault to heaven,
A fault against the dead, a fault to nature,
To reason most absurd, whose common theme [159]
Is death of fathers, and who still hath cried,
From the first corse till he that died to-day,[160] 105
'This must be so.' We pray you, throw to earth
This unprevailing woe, and think of us [161]
As of a father: for let the world take note,[162]
You are the most immediate to our throne,
And with no less nobility of love [163][164] 110
Than that which dearest father bears his son[164]
Do I impart toward you. For your intent[164][165]
In going back to school in Wittenberg,[166]
It is most retrograde to our desire:[167]
And we beseech you, bend you to remain [168] 115
Here in the cheer and comfort of our eye,
Our chiefest courtier, cousin and our son.

Queen. Let not thy mother lose her prayers, Hamlet:[169]
I pray thee, stay with us; go not to Wittenberg.[170]

Ham. I shall in all my best obey you, madam.[171] 120

King. Why, 'tis a loving and a fair reply:[172]
Be as ourself in Denmark. Madam, come;
This gentle and unforced accord of Hamlet
Sits smiling to my heart: in grace whereof,[173]
No jocund health that Denmark drinks to-day, 125
But the great cannon to the clouds shall tell,[174]
And the king's rouse the heaven shall bruit again,[175]
Re-speaking earthly thunder. Come away.[176]

[Flourish. Exeunt all but Hamlet.

Ham. O, that this too too solid flesh would melt,[177]
Thaw and resolve itself into a dew! 130
Or that the Everlasting had not fix'd
His canon 'gainst self-slaughter! O God! God![178]
How weary, stale, flat and unprofitable [179]
Seem to me all the uses of this world![180]
Fie on't! ah fie! 'tis an unweeded garden,[181] 135
That grows to seed; things rank and gross in nature
Possess it merely. That it should come to this![182]
But two months dead! nay, not so much, not two:
So excellent a king; that was, to this,[183]
Hyperion to a satyr: so loving to my mother,[183][184] 140
That he might not beteem the winds of heaven [185]
Visit her face too roughly. Heaven and earth![186]
Must I remember? why, she would hang on him,[186][187]
As if increase of appetite had grown
By what it fed on: and yet, within a month—[188] 145
Let me not think on't—Frailty, thy name is woman!—[189]
A little month, or ere those shoes were old [190]
With which she follow'd my poor father's body,[191]
Like Niobe, all tears:—why she, even she,—[192]
O God! a beast, that wants discourse of reason,[193] 150
Would have mourn'd longer,—married with my uncle,[194]
My father's brother, but no more like my father [195]
Than I to Hercules: within a month;
Ere yet the salt of most unrighteous tears [196]
Had left the flushing in her galled eyes,[197] 155
She married. O, most wicked speed, to post
With such dexterity to incestuous sheets![198]
It is not, nor it cannot come to good:
But break, my heart, for I must hold my tongue![199]

Enter Horatio, Marcellus, and Bernardo.

Hor. Hail to your lordship!

Ham. I am glad to see you well:[200][201] 160
Horatio,—or I do forget myself.[201][202]

Hor. The same, my lord, and your poor servant ever.[203]

Ham. Sir, my good friend; I'll change that name with you:[204]
And what make you from Wittenberg, Horatio?
Marcellus?[205] 165

Mar. My good lord?[206]

Ham. I am very glad to see you. [To Ber.] Good even, sir.[207]
But what, in faith, make you from Wittenberg?[208]

Hor. A truant disposition, good my lord.[209]

Ham. I would not hear your enemy say so,[210] 170
Nor shall you do my ear that violence,[211]
To make it truster of your own report [212]
Against yourself: I know you are no truant.
But what is your affair in Elsinore?[213]
We'll teach you to drink deep ere you depart.[214] 175

Hor. My lord, I came to see your father's funeral.

Ham. I prethee, do not mock me, fellow-student;[215]
I think it was to see my mother's wedding.[216]

Hor. Indeed, my lord, it follow'd hard upon.[217]

Ham. Thrift, thrift, Horatio! the funeral baked-meats 180
Did coldly furnish forth the marriage tables.
Would I had met my dearest foe in heaven
Or ever I had seen that day, Horatio![218]
My father!—methinks I see my father.

Hor. O where, my lord?

Ham. In my mind's eye, Horatio.[219] 185

Hor. I saw him once; he was a goodly king.[220]

Ham. He was a man, take him for all in all,[220][221]
I shall not look upon his like again.[222]

Hor. My lord, I think I saw him yesternight.

Ham. Saw? Who?[223] 190

Hor. My lord, the king your father.

Ham. The king my father!

Hor. Season your admiration for a while [224]
With an attent ear, till I may deliver,[225]
Upon the witness of these gentlemen,
This marvel to you.

Ham. For God's love, let me hear.[226] 195

Hor. Two nights together had these gentlemen,
Marcellus and Bernardo, on their watch,
In the dead vast and middle of the night,[227]
Been thus encounter'd. A figure like your father,
Armed at point exactly, cap-a-pe,[228] 200
Appears before them, and with solemn march
Goes slow and stately by them: thrice he walk'd [229]
By their oppress'd and fear-surprised eyes,[230]
Within his truncheon's length; whilst they, distill'd [231]
Almost to jelly with the act of fear,[232] 205
Stand dumb, and speak not to him. This to me
In dreadful secrecy impart they did;[233]
And I with them the third night kept the watch:
Where, as they had deliver'd, both in time,[234]
Form of the thing, each word made true and good, 210
The apparition comes: I knew your father;[235]
These hands are not more like.

Ham. But where was this?

Mar. My lord, upon the platform where we watch'd.

Ham. Did you not speak to it?

Hor. My lord, I did,[236]
But answer made it none: yet once methought [237] 215
It lifted up its head and did address [238]
Itself to motion, like as it would speak:[239]
But even then the morning cock crew loud,
And at the sound it shrunk in haste away
And vanish'd from our sight.

Ham. 'Tis very strange. 220

Hor. As I do live, my honour'd lord, 'tis true,[240]
And we did think it writ down in our duty [241]
To let you know of it.[242]

Ham. Indeed, indeed, sirs, but this troubles me.[243]
Hold you the watch to-night?

Mar. } We do, my lord.[244] 225
Ber. }

Ham. Arm'd, say you?

Mar. } Arm'd, my lord.
Ber. }

Ham. From top to toe?[244]

Mar. } My lord, from head to foot.[244][245][246]
Ber. }

Ham. Then saw you not his face?[246][247]

Hor. O, yes, my lord; he wore his beaver up.[246][248]

Ham. What, look'd he frowningly?[249] 230

Hor. A countenance more in sorrow than in anger.

Ham. Pale or red?

Hor. Nay, very pale.

Ham. And fix'd his eyes upon you?

Hor. Most constantly.

Ham. I would I had been there.

Hor. It would have much amazed you.[250] 235

Ham. Very like, very like. Stay'd it long?[250][251]

Hor. While one with moderate haste might tell a hundred.[250][252]

Mar.} Longer, longer.[250][253]
Ber.}

Hor. Not when I saw't.

Ham. His beard was grizzled? no?[254][255]

Hor. It was, as I have seen it in his life,[255][256] 240
A sable silver'd.[257]

Ham. I will watch to-night;
Perchance 'twill walk again.

Hor. I warrant it will.[258]

Ham. If it assume my noble father's person,
I'll speak to it, though hell itself should gape
And bid me hold my peace. I pray you all, 245
If you have hitherto conceal'd this sight,[259]
Let it be tenable in your silence still,[260]
And whatsoever else shall hap to-night,[261]
Give it an understanding, but no tongue:
I will requite your loves. So fare you well:[262] 250
Upon the platform, 'twixt eleven and twelve.[263]
I'll visit you.

All. Our duty to your honour.[264]

Ham. Your loves, as mine to you: farewell.[265]

[Exeunt all but Hamlet.

My father's spirit in arms! all is not well;[266]
I doubt some foul play: would the night were come! 255
Till then sit still, my soul: foul deeds will rise,[267]
Though all the earth o'erwhelm them, to men's eyes. [Exit.

Scene III. A room in Polonius's house.

Enter Laertes and Ophelia.[268]

Laer. My necessaries are embark'd: farewell:[269]
And, sister, as the winds give benefit
And convoy is assistant, do not sleep,[270]
But let me hear from you.

Oph. Do you doubt that?

Laer. For Hamlet, and the trifling of his favour,[271] 5
Hold it a fashion, and a toy in blood,
A violet in the youth of primy nature,[272]
Forward, not permanent, sweet, not lasting,[273]
The perfume and suppliance of a minute;[274]
No more.

Oph. No more but so?

Laer. Think it no more:[275] 10
For nature crescent does not grow alone [276]
In thews and bulk; but, as this temple waxes,[277]
The inward service of the mind and soul [278]
Grows wide withal. Perhaps he loves you now;
And now no soil nor cautel doth besmirch [279] 15
The virtue of his will: but you must fear,[280]
His greatness weigh'd, his will is not his own;[281]
For he himself is subject to his birth:[282]
He may not, as unvalued persons do,[283]
Carve for himself, for on his choice depends [284] 20
The safety and health of this whole state,[285]
And therefore must his choice be circumscribed
Unto the voice and yielding of that body
Whereof he is the head. Then if he says he loves you,[286]
It fits your wisdom so far to believe it 25
As he in his particular act and place [287]
May give his saying deed; which is no further
Than the main voice of Denmark goes withal.
Then weigh what loss your honour may sustain,[288]
If with too credent ear you list his songs,[289] 30
Or lose your heart, or your chaste treasure open [290]
To his unmaster'd importunity.[291]
Fear it, Ophelia, fear it, my dear sister,
And keep you in the rear of your affection,[292]
Out of the shot and danger of desire. 35
The chariest maid is prodigal enough,
If she unmask her beauty to the moon:
Virtue itself 'scapes not calumnious strokes:
The canker galls the infants of the spring [293]
Too oft before their buttons be disclosed,[294] 40
And in the morn and liquid dew of youth
Contagious blastments are most imminent.
Be wary then; best safety lies in fear:
Youth to itself rebels, though none else near.

Oph. I shall the effect of this good lesson keep,[295] 45
As watchman to my heart. But, good my brother,[296]
Do not, as some ungracious pastors do,
Show me the steep and thorny way to heaven,[297]
Whilst, like a puff'd and reckless libertine,[298]
Himself the primrose path of dalliance treads [299] 50
And recks not his own rede.[300]

Laer. O, fear me not.
I stay too long: but here my father comes.

The Works of William Shakespeare [Cambridge Edition] [Vol. 8 of 9]

THE WORKSOFWILLIAM SHAKESPEARE