Ham. Now, mother! what's the matter? Queen. Hamlet, thou hast thy father much of fended. Ham. Mother, you have my father much offended. Queen. Come, come; you answer with an idle tongue. a wicked Ham. Go, go; you question with a tongue. Queen. Why, how now, Hamlet! Ham. What's the matter now? No, by the rood, not so: Queen. Have you forgot me? You are the queen, your husband's brother's wife; Ham. Come, come, and sit you down; you shall not budge: You go not, till I set you up a glass Where you may see the inmost part of you. Queen. What wilt thou do? thou wilt not murder me? Help, help, ho! . Pol. [Behind.] What, ho! help! help! help! Ham. [Drawing.] How now! a rat? Dead, for a ducat, dead. [HAMLET makes a pass through the Arras. Pol. [Behind.] O! I am slain. [Falls, and dies. O me! what hast thou done? Queen. Ham. Nay, I know not: Is it the king? [He lifts up the Arras, and draws forth POLONIUS. Queen. O, what a rash and bloody deed is this! Ham. A bloody deed; almost as bad, good mother, As kill a king, and marry with his brother. Queen. As kill a king? Ham. Ay, lady, 'twas my word. [To POLON.] Thou wretched, rash, intruding fool, farewell! I took thee for thy better; take thy fortune: down, And let me wring your heart: for so I shall, If it be made of penetrable stuff; If damned custom have not braz'd it so, That it is proof and bulwark against sense. Queen. What have I done, that thou dar'st wag thy tongue In noise so rude against me? Such an act, Ham. As from the body of contraction plucks 2 The very soul, and sweet religion makes A rhapsody of words: Heaven's face doth glow, 2 Contraction here means the marriage contract. So the folio: the quartos read thus: н. Ah me! what act, Queen. That roars so loud, and thunders in the index ?4 Ham. Look here upon this picture, and on this; The counterfeit presentment of two brothers. See, what a grace was seated on this brow: Hyperion's curls; the front of Jove himself; An eye like Mars, to threaten and command; A station like the herald Mercury,5 New-lighted on a heaven-kissing hill; A combination and a form, indeed, Where every god did seem to set his seal, To give the world assurance of a man: This was your husband. Look you now, what fol lows: Here is your husband; like a mildew'd ear, "Heaven's face does glow O'er this solidity and compound mass, With heated visage," &c. H. 4 The index, or table of contents, was formerly placed at the beginning of books. In Othello, Act ii. sc. 2, we have, "an index and obscure prologue to the history of lust and foul thoughts." 5 Station does not mean the spot where any one is placed, but the act of standing, the attitude. So in Antony and Cleopatra, Act iii. sc. 3: "Her motion and her station are as one." 6 Here the allusion is to Pharaoh's dream; Genesis xli. 7 That is, to feed rankly or grossly: it is usually applied to the fattening of animals. Marlowe has it for "to grow fat." Bat is the old word for increase; whence we have battle, batten, batful. What devil was't, Nor sense to ecstasy was ne'er so thrall'd, Could not so mope." 10 O shame! where is thy blush? Rebellious hell, And melt in her own fire: proclaim no shame, And reason panders will.12 Queen. O, Hamlet! speak no more: Thou turn'st mine eyes into my very soul; And there I see such black and grained spots As will not leave their tinct. Ham. Nay, but to live In the rank sweat of an enseamed bed; 14 13 Stew'd in corruption; honeying, and making love Over the nasty sty;· 8 This passage, beginning at "Sense, sure, you have," is wanting in the folio. Likewise, that just after, beginning, "Eyes without feeling," and ending, "Could not so mope." H. 9 "The hoodwinke play, or hoodman blind, in some place called blindmanbuf." -BARET. 10 That is, could not be so dull and stupid. 11 Mutine for mutiny. This is the old form of the verb. Shakespeare calls mutineers mutines in a subsequent scene. 12 The quartos have pardons instead of panders. 13 H. Grained spots" are spots ingrained, or dyed in the grain. H. 14 Enseamed is a term borrowed from falconry. It is well known that the seam of any animal was the fat or tallow; and a hawk was said to be enseamed when she was too fat or gross for flight. The undated quarto and that of 1611 read incestuous. Queen. O, speak to me no more! These words like daggers enter in mine ears: Ham. A murderer, and a villain; A slave, that is not twentieth part the tithe That from a shelf the precious diadem stole, Queen. No more! Enter the Ghost." 16 Ham. A king of shreds and patches. Save me, and hover o'er me with your wings, You heavenly guards! figure? What would your gracious Queen. Alas! he's mad. Ham. Do you not come your tardy son to chide, That, laps'd in time and passion,17 lets go by Th' important acting of your dread command? O, say! This visitation Ghost. Do not forget. 15 That is, "the low mimic, the counterfeit, a dizard, or common vice and jester, counterfeiting the gestures of any man.” — FLEMING. Shakespeare afterwards calls him a king of shreds and patches, alluding to the party-coloured habit of the vice or fool in a play. 16 When the Ghost goes out, Hamlet says, " "Look, how it steals away! my father, in his habit as he liv'd." It has been much argued what is meant by this; that is, whether the Ghost should wear armour here, as in former scenes, or appear in a different dress. The question is set at rest by the stage-direction in the first quarto: "Enter the Ghost, in his night-gown." II. 17 Johnson explains this "That having suffered time to slip and passion to cool," &c. |