« AnteriorContinuar »
I'll warrant you;
withdraw; I hear him coming.
Ham. Now, mother! what's the matter?
Queen. Hamlet, thou hast thy father much offended.
Ham. Mother, you have my father much offended. Queen. Come, come; you answer with an idle
Ham. Go, go; you question with a wicked
What's the matter now?
Queen. Why, how now, Hamlet ! Ham. Queen. Have you forgot me? Ham. No, by the rood, not so: You are the queen, your husband's brother's wife; And would it were not so!-you are my mother.
Queen. Nay, then I'll set those to you that can
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. Queen. O me! what hast thou done?
Ham. Nay, I know not: Is it the king?
[He lifts up the Arras, and draws forth
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?
Ay, lady, 'twas my word. [TO POLON.] Thou wretched, rash, intruding fool, farewell!
I took thee for thy better; take thy fortune:
Leave wringing of your hands: Peace! sit you
And let me wring your heart: for so I shall,
If damned custom have not braz'd it so,
2 Contraction here means the marriage contract. So the folio: the quartos read thus:
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?
With tristful visage, as against the doom,
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,* 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
Here is your husband; like a mildew'd ear,
The hey-day in the blood is tame, it's humble,
"Heaven's face does glow
O'er this solidity and compound mass,
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 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.
Nor sense to ecstasy was ne'er so thrall'd,
Could not so mope."
O shame! where is thy blush? Rebellious hell,
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; 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."
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. are spots ingrained, or dyed in the grain.
14 Enseamed is a term borrowed from falconry. It is well known that the seam of any animal was the fat or tallow; and hawk was said to be enseamed when she was too fat or gross for
flight. The undated quarto and that of 1611 read incestuous.
O, speak to me no more!
These words like daggers enter in mine ears:
A slave, that is not twentieth part the tithe
A murderer, and a villain;
Enter the Ghost.16
Ham. A king of shreds and patches.
Save me, and hover o'er me with your wings,
Queen. Alas! he's mad.
Ham. Do you not come your tardy son to chide, That, laps'd in time and passion," lets go by Th' important acting of your dread command? 0, say!
Ghost. Do not forget. This visitation
15 That is, "the low mimic, the counterfeit, a dizard, or common rice 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.