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And he, repulsed (a short tale to make),
In the first quarto edition of the play (1603), the passage stands Fell into a sadness ; then into a fast;" &c.
thus: Act II., Scene 2.
“ Ham. How comes it that they travel? do they grow restie? It is observed by Warburton, that “the ridicule of the character Gil. No, my lord; their reputation holds as it was wont. of Polonius is here admirably sustained. He would not only be Ham. How then ? thought to have discovered this intrigue by his own sagacity, but to Gil. I' faith, my lord, novelty carries it away; for the principal have remarked all the stages of Hamlet's disorder, from his sadness public audience that came to them, are turned to private plays, and to his raving, as regularly as his physician could have done; when to the humor of children." all the while the madness was only feigned. The humor of this is exquisite from a man who tells us, with a confidence peculiar to There is still, however, some obscurity connected with this matter, small politicians, that he could find -
since we cannot be certain that the passage in the present text refers
to the same period of time as the corresponding one in the earliest "Where truth is hid, though it were hid indeed
quarto. In June, 1600. an order of council passed “ for the restraint Within the centre."
of the immoderate use of playhouses." It prescribes that “there
shall be about the city two houses, and no more, allowed for the use “For if the sun breed maggots in a dead dog, being a god, kissing of the common stage plays." This order may, with some probability, carrion - Have you a daughter?” — Act II., Scene 2.
be deemed the origin of the “ inhibition” and “ innovation” referred
to in the text. Hamlet, by breaking off abruptly in this sentence, has been the cause of an infinite deal of ink-shedding. The old copies read, “ Being a good kissing carrion.” The present reading was suggested by War
“ Jephthah, judge of Israel, what a treasure hadst thou !" burton, and has been generally adopted, as the most plausible that
Act II., Scene 2. has yet been proposed. His labored comment on the passage, in
In Percy's "RELIQUES," there is an imperfect copy of the old ballad which he endeavors to prove that Shakspeare intended it as a vindi
to which Hamlet here refers. It has been since entirely recovered, cation of the ways of Providence in permitting evil to abound in the
and is printed entire in Mr. Evans's “ COLLECTION OF OLD BALLADS" world, has not been so well received. Malone has traced in a less
(1810). The first stanza comprises the various quotations in the exalted, though more probable strain, the train of thought in Ham
text:let's mind: IIamlet has just remarked, that honesty is very rare in the world. To this, Polonius assents. The prince then adds, ' that,
“I have heard that many years agoe, since there is so little virtue in the world; since corruption abounds
When Jepha, judge of Israel, everywhere, and maggots are bred by the sun, even in a dead dog,
IIad one fair daughter, and no more; Polonius ought to prevent his daughter from walking in the sun,
Whom he loved passing well. lest she should prove a breeder of sinners.'"
As by lot, God wot,
It came to passe most like as it was,
Great warrs there should be, “ Ros. Truly; and I hold ambition of so airy and light a quality,
And who should be the chiefe, but he, but he.” that it is bud a shadow's shadow.
HAM. Then are our beggars, bodies; and our monarchs and outstretched heroes the beggars' shadows." -- Act II., Scene 2.
Meaning, according to Johnson, “If ambition is such an unsubstantial thing, then are our beggars (who at least can dream of great
“ When he himself might his quietus make ness) the only things of substance; and monarchs and heroes, though appearing to fill such mighty space with their ambition, but the
The word “quietus” signifies discharge or acquittance. Every shadows of the beggars' dreams."
sheriff receives his “quietus" on settling his accounts at the Ex
chequer. “Bodkin” was the term in use to signify a small dagger. “ We coted them on the way." -- Act II., Scene 2. The term “ coted” is derived from the french cote, the side. “In “ To grunt and sutat under a weary life." - Act III., Scene 1. the laws of coursing,” says Mr. Tollet, “ a cole is when a greyhound goes end ways by the side of his fellow, and gives the hare a turn." This is the true reading, according to all the old copies; “alInstances are given of the use of the word in the sense of overtaking though," as Johnson observes, “ it can scarcely be borne by modern or passing by
ears.” On this point, Malone remarks, “I apprehend that it is the duty of an editor to exhibit what his author wrote; and not to sub
stitute what may appear to the present age preferable. I have, “ The clown shall make those laugh whose lungs are tickled othe
therefore, though with some reluctance, adhered to the old copies, sere." ~ Act II., Scene 2.
however unpleasing this word may be to the ear. On the stage, withThat is, those who are troubled with a huskiness, or dry cough. out doubt, an actor is at liberty to substitute a less offensive word.
To the ears of our ancestors, it probably conveyed no umpleasing “HAM. Ilow chances it they trard? Their residence, both in repu- sound; for we find it used by Chaucer and others." tation and profit, was better both ways. Ros. I think their inhibition comes by the means of the late innova
“ To split the ears of the groundlings; who, for the most part, are tion." - Act II., Scene 2
capable of nothing but inexplicable dumb shows and noise." — Act
III., Scene 2. The “ innovation" here alluded to appears to have been the public * performance of the “ Children of the Revels," the “ Children of St.
The pit, in the early theatres, had neither floor nor benches, and Paul's." &c., which for a time attracted the town, and thereby in was frequented by the poorer classes. Ben Jonson speaks with equal eflect “ inhibited” or prevented the performance of the regular
contempt of the " understanding gentlemen of the ground." of the players at their old stations, and compelled them to travel.” In * dumb shows," we have a specimen in the play scene of this trago« JACK DRUM'S ENTERTAINMENT” (1601), we find:
dy. “The meaner people," says Dr. Johnson, " then seem to have
sat (stood) below, as they now sit in the upper gallery; who, not well " I sawe the children of Powle's (Paul's) last night,
understanding poetical language, were sometimes gratified by a And troth they pleased me prettie, prettio well;
mimical and mute representation of the drama, previous to the diaThe ares in time will do it handsomely."
"I would have such a fellow whipped for o'erdoing Termagant; it influence over the fancy. Little sallies of indecorum he may have out-herods Herod.” – Act III., Scene 2.
now and then committed; but they are few, and are eccentricities
from his general character, partially pardonable on account of the Termagant, according to Percy, was a Saracen deity, very clamor
bad taste of his age. What a frightful contrast to his purity is disous and violent in the Old Moralities. Herod, also, was a constant
played among his nearest dramatic successors - love in relations of character in these entertainments, and his outrageous boasting is
life where nature forbids passion! Shakspeare scorns to interest us in sometimes highly amusing. Subjoined are two short specimens. The
any love that is not purely natural.” first is from the "CHESTER WHITSUN PLAY9:" “For I am kinge of all mankinde,
“ Your only jig-maker.” — Act III., Scene 2. I byd, I beate, I lose, I bynde:
A “jig” signified not only a dance, but also a ludicrous prose or I master the moone:-take this in mynde,
metrical composition. Many of these jigs are entered in the books That I am most of mighte.
of the Stationers' Company.
“ Let the devil wear black, for I'U have a suit of sables." The sonne it dare not shine on me,
Act III., Scene 2. And I bid him go downe."
Meaning, probably, a suit that shall be expressive of the reverse It appears that this amiable personage had no less conceit of his feeling to sorrow or humiliation. “A suit of sables (says Malone) “ bewte” than of his “ boldness.” In one of his “ COVENTRY PLAY8," was, in Shakspeare's time, the richest dress worn by men in Enghe exclaims:
land. Wherever his scene might happen to be, the customs of his
own country were still in his thoughts." By the statute of apparel "Of bewte and of boldness I ber evermore the belle,
(24 HIEN. VIII.), it is ordained that none under the degree of an earl Of mayn and of myght I master every man; I dynge with my dowtiness the devil down to helle,
may use sables. For both of hevyn and of earth I am kynge certayn.”
“ For O, for O, the hobby-horse is forgot?” – Act III. Scene 2. " My lord, you played once in the university, you say.”
The banishment of the hobby-horse from the May games is fre
Act III., Scene 2. quently lamented in the old dramas. The line quoted by Hamlet The practice of acting Latin plays in the universities of Oxford
appears to have been part of a ballad on the subject of poor Hobby.
He was driven from his station by the Puritans, as an impious and and Cambridge is very ancient, and continued to near the middle of the seventeenth century. They were performed occasionally for the
pagan superstition; but restored on the promulgation of the "BOOK entertainment of princes, and other great personages; and regularly
OF SPORTS.” The hobby-horse was formed of a pasteboard horse's head, at Christmas, at which time a "Lord of Misrule” was appointed at
and probably a light frame made of wicker-work, to form the hinder Oxford, to regulate the exhibitions, and a similar officer, with the
parts; this was fastened round the body of a man, and covered with title of “Imperator," at Cambridge. A Latin play, on the subject of
a footcloth which nearly reached the ground, and concealed the legs
of the performer. Similar contrivances, in burlesque pieces, are not Cæsar's death, was performed at Christ Church, Oxford, in 1582.
unusual at this day, in the London minor theatres.
“HOR, Half a share.
HAM. A whole one, I." — Act III., Scene 2. On the publication of the original edition of this play, which had
Actors, in Shakspeare's time, had not annual salaries, as at present. been previously unknown to the commentators or the public, some remarks upon it appeared in a morning journal, from which we select
The whole receipts of each theatre were divided into shares, of which
the proprietors of the theatre, or "house-keepers," as they were the following, as well worthy of attention, in reference to this scene, and to some other parts of Shakspeare's text which the reader, with
called, had some, and each actor had one or more shares, or parts of out being affectedly delicate, may be pardoned for wishing away: a share, according to his merit.
" Many striking peculiarities in this edition of Hamlet tend strongly to confirm our opinion, that no small portion of the ribaldry to be
« Offense's gilded hand may shove by justice, found in the plays of our great poet, is to be assigned to the actors of his
And oft 't is seen, the wicked prize itself, time, who flattered the vulgar taste with the constant repetition of many
Buys out the law." — Act III., Scene 3. indecent, and not a few stupid jokes, till they came to be considered, We need no great persuasion to make us believe that we ought to and then printed, as part of the genuine text. Of these, the two or read, as a manuscript note tells us. three brief but offensive speeches of Hamlet to Ophelia, in the play scene (act iii.), are not to be found in the copy of 1603; and so far are
“ And oft’t is seen, the wicked purse itself we borne out in our opinion; for it is not to be supposed that Shaks
Buys out the law." peare would insert them upon cool reflection, three years after the success of his piece had been determined. Still less likely is it that a
"I'll silence me e'en here." - Act III., Scene 4. piratical printer would reject anything actually belonging to the
That this is a misprint we might guess without any hint from the play, which would prove pleasing to the vulgar bulk of those who
corrected folio, 1632, which thus gives the words, -were to be the purchasers of his publication." We have no desire to be numbered among those who are in the
“I'N 'sconce me even here." habit of visiting the sins of Shakspeare, real or imaginary, on tho
Johnson felt obliged to explain that “I'll silence me e'en here" heads of the actors; but there is certainly something in the fact here
meant “I 'll use no more words.” In “The Merry Wives," Falstaff stated that deserves consideration. In justice both to poet and play.
says, “I will ensconce me behind the arras,” which is exactly what ers, we subjoin Mr. Campbell's judicious comment on the remarks
Polonius doeg. 'Sconce and ensconce are constantly used figuratively just cited:
for hide "I am inclined, upon the whole, to agree with these remarks, although the subject leaves us beset with uncertainties. This copy
“ For, at your age of the play was apparently pirated; but the pirate's omission of the
The hey-day in the blood is tame, it's humble, improper passages alluded to, is not a perfect proof that they were
And waits upon the judgment; and what judgment absent in the first representation of the piece; yet it leads to such a
Would step from this to this?" - Act III., Scene 4. presumption; for, looking at the morality of Shakspeare's theater in the main, he is none of your poetical artists who resort to an impure l i. e. from his father to his uncle: Hamlet is exalting the first, and
debasing the last; and the expression, "Would step from this to the old ballads and novels made pilgrimages the subjects of their this,” is feeble and inexpressive, while a slight alteration in one word plots. The cockle-shell was an emblem of an intention to go beyond makes a vast difference:
sea." " And what judgment
“ They say the ovol was a baker's daughter." — Act IV., Scene 5. Would stoop from this to this !”
This transformation is said to be a common tradition in Gloucestershire. It is thus related by Mr. Douce :--“Our Savior went into a baker's shop where they were baking, and asked for some bread to
eat: the mistress of the shop immediately put a piece of dough in the “ Hide for, and all after." — Act IV., Scene 2.
oven to bake for him; but was reprimanded by her daughter, who This, no doubt, was the name of a juvenile sport of the poet's age; insisting that the piece of dough was too large, reduced it to a very it is supposed to be the same as is now called “hide and seek."
small size: the dough, however, immediately began to swell, and pre
sently became of a most enormous size, whereupon the baker's “Not where he eats, but where he is eaten : a certain convocation of daughter cried out, 'Heugh, heugh, heugh, which owl-like noise politic worms are e'en at him. Your worm is your only emperor for probably induced our Savior to transform her into that bird, for her diet,” dc. - Act IV., Scene 3.
wickedness." The story is told to deter children from illiberal behav.
ior to the poor. The folios omit “politic,” probably unintentionally, but possibly because it was not clearly understood why the worms should be
" Where are my Switzers!” — Act IV., Scene 5. called "politic." The old corrector of the folio, 1632, leads us to suppose that“ politic" was misprinted, or miswritten, for an epithet, cer The Swiss, in Shakspeare's time, were already in the habit of entertainly more applicable in the place where it occurs, in reference to ing as mercenaries into foreign service. In Nashe's “ CHRIST'S TEARS the taste of the worms for the rich repast they were enjoying: - OVER JERUSALEM" (1594), we find :-"Law, logic, and the Switzers, “ A certain convocation of palated worms are e'en at him. Your
may be hired to fight for anybody.” worm is your only emperor for diet: we fat all creatures else to fat us,
“ There's such divinity doth hedge a king, and we fat ourselves for maggots.”
That treason can bud peep to what it would." It is easy to suppose that “polític," a word with which the scribe
Act IV., Scene 5. was familiar, was misheard by him for the unusual word palated.
For “ hedge” the first quarto reads " wall." — As a genuine instance Sbakspeare employs to palate as a verb in “ Coriolanus," Act III.,
of royal confidence, an anecdote of Queen Elizabeth is quoted from Scene I., and in “ Antony and Cleopatra," Act V. Scene II.; and it is
Chettle's “ ENGLAND'S MOURNING GARMENT;” — “While her Majesty doing no great violence to imagine that he here uses the partciple of
was on the Thames, near Greenwich, a shot was fired by accident, the same verb. If the text had always stood“ palated worms," and
which struck the royal barge, and hurt a waterman near her. The it had been proposed to change it to "politic worms,” few readers
French ambassador being amazed, and all crying • Treason, treason!' would for an instant have consented to relinquish an expression so
yet she, with an undaunted spirit, came to the open place of the peculiarly Shakspearian.
barge, and bade them never fear; for if the shot were made at her,
they durst not shoot again. Such majesty had her presence, and * Where is the beauteous majesty of Denmark?” - Act IV., Scene 5.
such boldness her heart, that she despised fear, and was as all princes It is remarked by Sir Joshua Reynolds, that there is no part of this are, or should be, so full of divine fulness, that guilty mortality durst play, in its representation on the stage, more pathetic than this scene; not behold her but with dazzled eyes.” which he supposes to arise from the utter insensibility of Ophelia to her own misfortunes. “A great sensibility (says he), or none at all,
“O, how the wheel becomes it!” — Act IV., Scene 5. seems to produce the same effect. In the latter case, the audience
The terms “wheel” and “a-down-a” both signify the round or bur supply what is wanting; and with the former they sympathize."
then of a ballad. In reference to “ the sweet Ophelia,” Hazlitt eloquently exclaims:« Ophelia is a character almost too exquisitely touching to be dwelt
"No, no, he is dead; upon. 'Oh, rose of May!' oh, flower too soon faded! Her love, her
Gone to thy death bed," -Act IV., Scene 5. madness, her death are described with the truest touches of tenderness and pathog. It is a character which nobody but Shakspeare
ought to run, as we may very well believe, could have drawn in the way he has done; and to the conception of
“No, no, he is dead, which there is not the smallest approach, except in some of the old
Gone to his death-bed, romantic ballads."
He never will come again." Mrs. Jameson also, in her “CHARACTERISTICS OF WOMEN," has a beautiful passage on the same pathetic theme : "Once at Marano, I saw
It has always hitherto been printed, “ Go to thy death-bed," and we a dove caught in a tempest: perbaps it was young, and either lacked
can scarcely think the proposed change merely arbitrary. For strength of wing to reach its home, or the instinct which teaches to
“ His beard was as white as snow," shun the brooding storm: but so it was- and I watched it, pitying as it flitted, poor bird! hither and thither, with its silver pinions
the correction in manuscript is, shining against the black thunder-cloud, till after a few giddy whirls
“ His beard was while as snow." it fell blinded, affrighted, and bewildered, into the turbid wave beneath, and was swallowed up for ever. It reminded me of the fate
In the folios it is, " His beard as white as snow," and the variation of Ophelia; and now, when I think of her, I see again that poor dove,
may be deemed immaterial. When Ophelia makes her exit, it is sta beating with weary wing, bewildered amid the storm.”
ted that she goes out dancing distracted, although she had sung such
a melancholy ditty just before, and had taken such a sad farewell. It “ How should I your true love know
is the last we see of her.
“In youth, when I did love, did love," &c. - Act V., Scene 1. The habiliments mentioned in the last two lines were appropriated to pilgrims. Warburton remarks, " that while this kind of devotion The stanzas, of which the clown gives his imperfect version, are atwas in favor, love intrigues were carried on under that mask. Hence tributed to Lord Vaux; they were published in “SONGES AND SONNETTES," by Lord Surrey and others (1576). thus:
The original runs
“I loth that I did love,
In youth that I thought swete,
Methinks they are not mete.
The second line is obviously defective, and the corrector of the folio, 1632, does not, in this instance, cure it by adopting the text of the quartos, but that of some independent authority; perhaps his emendation here, as in some other places, represents the passage as it was delivered by the player of the part of the Queen :
“ He's fat and scant of breath. Here is a napkin, rub thy brows, my son."
“For Age with steling steps
"Let four captains
Bear Hamlet, like a soldier to the stage,
For he was likely, had he been put on,
To have proved most royally." - Act V., Scene 2.
perfectly consonant with that idea of moral perfection which we are “A pikeax and a spade,
anxious to attach to him; but none, it appears to us, with perfect And eke a shrowding shete,
success; nor are such attempts necessary, except for those who are A house of clay for to be made
anxious to worship an idol, rather than to discuss the merits of a huFor such a guest most mete."
man being. As regards the main incident of his life, his merits and
deficiencies are delineated with great delicacy and discrimination by “ To play at loggats with them " -- Act V., Scene 1.
the hand of Goethe:-“ It is clear to me that Shakspeare's intention « Loggats” is a game still much used in some country parts, par was to exhibit the effects of a great action, imposed as a duty, upon ticularly Norwich, and its vicinity. A stake is fixed in the ground,
a mind too feeble for its accomplishment. In this sense, I find the at which the loggats (small logs or pieces of wood) are thrown. The
character consistent throughout. Here is an oak planted in a china
Vase, proper to receive only the most delicate flowers: the roots strike sport may be considered a rude kind of quoits.
out, and the vessel flies to pieces. A pure, noble, highly moral dis
position, but without that energy of soul which constitutes the hero, “ It was that very day that young Hamlet was born."
sinks under a load which it can neither support nor resolve to abanAct V., Scene 1.
don altogether. All his obligations are sacred to him; but this alone This 19 possibly a slip of memory in the poet. It appears, from is above his powers. An impossibility is required at his hands; not what the Gravedigger subsequently says, that Hamlot must have been an impossibility in itself, but that which is so to him. Observe how at this period thirty years old; and yet, in the early part of the play, he shifts, turns, hesitates, advances and recedes; how he is continuWe are told of his intention to return to school at Wittenberg. In ally reminded and reminding himself of his great commission, which the first quarto, Yorick's skull is said to have lain in the earth twelvehe, nevertheless, in the end, seems almost entirely to lose sight of; years, instead of three-and-twenty, as at present:-"Look you, here's and this without ever recovering his former tranquillity.” a skull hath been here this dozen year; let me see, ay, ever since our last King Hamlet slew Fortinbrasse in combat:— young Hamlet's father: he that's mad." It is probable that, in the reconstruction of the play, Shakspeare
In reference to the disputed question of Hamlet's sanity, Boswell perceived that the general depth of Hanlet's philosophy indicated a
makes some judicious remarks, in which he maintains that the mind too mature for the possession of a very young man. -- In refer
prince's great intellect is essentially sound, though weakened and ence to Hamlet's demeanor in this transcendant scene, Boswell the
disturbed :younger says (in his edition of Malone), “The scene with the Grave
“The sentiments which fall from Hamlet in his soliloquies, or in digger shews, in a striking point of view, his good-natured affability.
confidential communication with Horatio, evince not only a sound, The reflections which follow afford new proofs of his amiable charac
but an acute and vigorous understanding. His misfortunes, indeed, ter. The place where he stands, the frame of his own thoughts, and
and a sense of shame, from the hasty and incestuous marriage of his the objects which surround him, suggest the vanity of all human
mother, have sunk him into a state of weakness and melancholy; pursuits; but there is nothing harsh or caustic in his satire; his ob
but though his mind is enfeebled, it is by no means deranged. It servations are dictated rather by feelings of sorrow than of anger;
would have been little in the manner of Shakspeare to introduce two and the sprightliness of his wit, which misfortune has repressed, but
persons in the same play whose intellects were disordered; but he has cannot altogether extinguish, has thrown over the whole a truly pa
rather, in this instance, as in KING LEAR,' a second time effected thetic cast of humorous sadness. Those gleams of sunshine, which
| what. as far as I can recollect, no other writer has ever ventured to serve only to shew us the scattered fragments of a brilliant imagina
attempt -- the exhibition on the same scene of real and fictitious tion, crushed and broken by calamity, are much more affecting than
madness in contrast with each other. - In carrying his design into a long uninterrupted train of monotonous woe.”
execution, Hamlet feels no difficulty in imposing upon the King,
whom he detests; or upon Polonius, and his school-fellows, whom he " I'll do't. - Dost thou come here to whine!” – Act V., Scene 1.
despises: but the case is very different indeed in his interviews with The line clearly wants two syllables; and the corrector of the folio, Ophelia: aware of the submissive mildness of her character, which 1632, makes Hamlet emphatically repeat, “ I'll do 't," which perfects leads her to be subject to the influence of her father and the measure:
he cannot venture to intrust her with his secret. In her presence,
therefore, he has not only to assume a disguise, but to restrain him“ I'll do't: I'll do it. -- Dost thou come here to whine ?"
self from those expressions of affection which a lover must find it This repetition was probably omitted by the printer accidentally. most difficult to repress in the presence of his mistress. In this tu
mult of conflicting feelings, he is led to overact his part, from a fear
of falling below it; and thus gives an appearance of rudeness and “ He's fat and scant of breath.
harshness to that which is, in fact, & painful struggle to conceal his Here, Hamlet, take my napkin, rub thy brows."
Act V., Scene 2. In the folios, the passage is merely this:" He's fat and scant of breath.
Dr. Johnson's appreciation of Shakspeare is, unfortunately, not in Here's a napkin, rub thy brows."
| general such as to tempt us to transcribe his summary remarks on
each play; but as the opening paragraph of his estimate of “HAM- Being crossed by the contention of the winds,
If the dramas of Shakspeare were to be characterized, each by | Wherein he saw himself betrayed to death, the particular excellence which distinguishes it from the rest, we As at his next conversion with your grace must allow to the tragedy of Hamlet the praise of variety. The in He will relate the circumstance at full. cidents are so numerous, that the argument of the play would make Queen. Then I perceive there's treason in his looks, a long tale. The scenes are interchangeably diversified with merri That seemed to sugar o'er his villanies: ment and solemnity: with merriment that includes judicious and in But I will sooth and please him for a time, structive observations, and solemnity not strained by poetical vion For murderous minds are always jealous; lence above the natural sentiments of man. New characters appear But know not you, Horatio, where he is? from time to time in continual succession, exhibiting various forms Hor. Yes, madam, and he hath appointed me of life and particular modes of conversation. The pretended mad- To meet him on the east side of the city ness of Hamlet causes much mirth, the mournful distraction of Tomorrow morning. Ophelia fills the heart with tenderness, and every personage produces Queen. O fail not, good Horatio, and withal commend me the effect intended, from the Apparition that in the first Act chills A mother's care to him, bid him awhile the blood with horror, to the Fop in the last, that exposes affectation Be wary of his presence, lest that he to just contempt.”
Fail in that he goes about.
Hor. Madam, never make doubt of that;
He is arrived: observe the King, and you shall
Queen. But what became of Gilderstone and Rosencraft? be premised that, in the earlier edition, the Queen's innocence of the
Hor. He being set ashore, they went for England, murder is distinctly asserted by herself; as it is also in the black-let
And in the packet there writ down that doom ter “ HISTORIE OF HAMBLETT:"
To be performed on them 'pointed for him:
And by great chance he had his father's seal,
So all was done without discovery.
Queen. Thanks be to heaven for blessing of the prince. This letter I even now received of him,
Horatio, once again I take my leave, Whereas he writes how he escaped the danger
With thousand mother's blessings to my son. And subtle treason that the King had plotted,
Hor. Madam, adieu!