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Enter HORATIO and MARCELLUS.
Fran. I think I hear them.
Stand, ho! who is
Hor. Friends to this ground. (4)
Mar. And liege men to the Dane.
Fran. Give you good night.
Mar. Oh, farewel, honest soldier; who hath
relieved you? (5)
Fran. Bernardo has my place; give you good
Mar. Holla! Bernardo.
Ber. Say, what, is Horatio there?
(4) Horatio has precisely the same prototype as Sidrophel, in Hudibras, drawn in fig. 38, ante, where a note points out his particular position. His name is derived from Hora, with reference to the shape of an hour-glass, exhibited by the lights and shadows which form his head; and as there is frequent allusion in the early part of the play to Horatio's sitting down, he is so represented in fig. 49, by an addition of some of the shadows adjoining to his person in the moon.
(5) Marcellus, (martial,) seems to have his prototype in the military figure, drawn in No. 50; which, if the south side of the moon be still kept uppermost, may be seen at the top of what made the head of Ralph in Hudibras, (drawn in fig. 2,) and looking directly towards the ghost, who is pointed out in the next note.
Ber. Welcome, Horatio; welcome, good Mar
[night? Mar. What, has this thing appeared again toBer. I have seen nothing.
Mar. Horatio says
'tis but our fantasy ;
And will not let belief take hold of him,
Touching this dreaded sight, twice seen of us :
Therefore I have intreated him along
With us, to watch the minutes of this night;
He may approve our eyes, and speak to it.
And let us once again assail your ears,
And let us hear Bernardo speak of this.
When yon same star, that's westward from the pole,
The bell then beating one,
Mar. Peace, break thee off;
Enter the Ghost. (6)
Look where it comes again.
(6) The ghost, made of the strong explosion of white
Ber. In the same figure, like the King that's dead. Mar. Thou art a scholar, speak to it, Horatio. (7)
light towards the south side of the moon, is drawn in Fig. 51.
(being the same space which constituted the figure of Fame, in Hudibras, fig. 25,) and the manner of representing the ghost at the theatre up to the present day conveys a confirmation of this explanation; for his beckoning to Hamlet would not be so well understood from his prototype in the moon, without a reference to the truncheon which he appears to hold in his hand there, and which he is always represented on the stage as waving in a beckoning posture.
(7) Horatio's being a scholar may be referable to the
Ber. Looks it not like the King? mark it, Horatio. Hor. Most like: it harrows me with fear and
Ber. It would be spoke to.
Mar. Speak to it, Horatio.
Hor. What art thou, that usurpest this time of Together with that fair and warlike form,
In which the majesty of buried Denmark
Did sometime march? by Heaven, I charge thee, Mar. It is offended.
Ber. See! it stalks away. (8)
Hor. Stay; speak: I charge thee, speak.
Mar. 'Tis gone, and will not answer.
Ber. How now, Horatio, you tremble and look Is not this, something more than fantasy? [pale. What think you of it?
Hor. Before my God, I might not this believe, Without the sensible and true avouch
Of mine own eyes.
various uses to which the hour-glass, marked on his head, is applied, and particularly to that important one of keeping the reckoning of ships at sea: it is further referable, perhaps, to the appearance of a telescope, another scientific instrument, at his eye.
(8) It stalks away, i. e. it disappears with the side of the moon on which it is situate.