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No reckoning made, but sent to my account
With all my imperfections on my head:
O, horrible! O, horrible! most horrible !!
If thou hast nature in thee, bear it not;
Let not the royal bed of Denmark be
A couch for luxury® and damned incest.
But, howsoever thou pursu'st this act,
Taint not thy mind, nor let thy soul contrive
Against thy mother aught; leave her to heaven,
And to those thorns that in her bosom lodge,
To prick and sting her. Fare thee well at once!
The glow-worm shows the matin to be near,
And 'gins to pale his uneffectual fire:1

chased than or before, also chyldren were chrystenyd throughe all the lande and men houselyd and anelyd." Fol. 14, Septima Pars Johannis,

The Anglo-Saxon noun-substantives husel, (the eucharist) and ele (oil) are plainly the roots of these last-quoted compound adjectives. For the meaning of the affix an to the last, I quote Spelman's Gloss. in loco : « Quin et dictionibus (an) adjungitur, siquidem vel majoris notationis gratia, vel ad singulare aliquid, vel unicum demonstrandum.” Hence anelyd should seem to signify oiled or anointed by way of eminence, i. e. having received extreme unction. For the confirmation of the sense given here, there is the strongest internal evidence in the passage. The historian is speaking of the VII sacraments, and he expressly names five of them, viz. baptism, marriage, auricular confession, the eucharist, and extreme unction.

The antiquary is desired to consult the edition of Fabian, printed by Pynson, 1516, because there are others, and I remember to have seen one in the Bodleian Library at Oxford, with a continuation to the end of Queen Mary, London, 1559, in which the language is much modernized. Brand.

8 O, horrible! O, horrible ! most horrible !] It was ingeniously hinted to me by a very learned lady, that this line seems to be. long to Hamlet, in whose mouth it is a proper and natural exclamation; and who, according to the practice of the stage, may be supposed to interrupt so long a speech. 9 A couch for luxury – ] i. e. for lewdness. So, in K. Lear:

To’t luxury, pell-mell, for I lack soldiers.” Steevens. See Vol. XII, p. 167, n. 4, and p. 198. Malone. pale his uneffectual fire :] i. e. shining without heat.

Warburton. To pale is a verb used by Lady Elizabeth Carew, in her Tragedy of Mariam, 1613:

Death can pale as well
** A cheek of roses, as a cheek less bright.”

1

Adieu, adieu, adieu! remember me.2

[Exit. Ham. O all you host of heaven! ( earth! What else? And shall I couple hell?-0 fys!-Hold, hold, my heart; And you, my sinews, grow. not instant old, But bear me stiffly up! - Remember thee? Ay, thou poor ghost, while memory holds a seat In this distracted globe.“ Remember thee? Yea, from the table of my memorys I'll wipe away all trivial fond records, All saws of books, all forms, all pressures past, That youth and observation copied there; And thy commandment all alone shall live Within the book and volume of my brain, Unmix'd with baser matter: yes, by heaven. O most pernicious woman!

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Again, in Urry's Chaucer, p. 368 : “ The sterre paleth her white cheres by the flambes of the sonne,” &c.

Uneffectual fire, I believe, rather means, fire that is no longer seen when the light of morning approaches. So, in Pericles, Prince of Tyre, 1609:

like a glow-worin,“ The which hath fire in darkness, none in light.” Steevens. 2 Adieu, adieu, adieu ! &c.] The folio reads

Adieu, adieu, Hamlet: remember me. Steevens

ofy!!] These words (which hurt the measure, and from that circumstance, and their almost ludicrous turn, may be suspected as an interpolation,) are found only in the two earliest quartos

O fy!” however, might have been the marginal reprehension of some scrupulous reader, to whom the MS. had been communicated before it found its way to the press. Steevens.

· Remember thee?
Ay, thou poor ghost, while memory holds a seat
In this distracted globe.] So, in our poet's 122d Sonnet:

56 Which shall above that idle rank remain,
“ Beyond all dates, even to eternity;
" Or at the least, so long as brain and heart
Have faculty by nature to subsist.. Malone.

this distracted zlobe.] i. e. in this head confused with thought.' Steevens.

6 Yea, from the table of my memory-]This expression is used by Sir Philip Sidney in his Defence of Poesie. Malone.

from the table of my memory I'll wipe away &c.] This phrase will remind the reader of Chæria's exclamation in the Eunuch of Terence :-"O faciem pulchram! delco omnes dehinc ex animo mulieres.” Steevens.

O villain, villain, smiling, damned villain!
My tables,-meet it is, I set it down,
That one may smile, and smile, and be a villain;
At least, I am sure, it may be so in Denmark: [Writing.
So, uncle, there you are. Now to my word;?
It is, Adieu, adieu! remember me.
I have sworn't.

Hor. [within] My lord, my lord,
Mar. [within] Lord Hamlet, —
Hor. [within] Heaven secure him!
Ham.

So be it! Mar. [within] Illo, ho, ho, my lord !

6 My tables,-meet it w, I set it down,] This is a ridicule on the practice of the time. Hall says, in his character of the Hypocrite, “ He will ever sit where he may be seene best, and in the midst of the sermon pulles out his tables in haste, as if he feared to loose that note,” &c. Farmer.

No ridicule on the practice of the time could with propriety be introduced on this occasion. Hamlet avails himself of the same caution observed by the Doctor in the fifth act of Macbeth: “ I will set down whatever comes from her, to satisfy my remembrance the more strongly."

Dr. Farmer's remark, however, as to the frequent use of table. books, may be supported by many instances. So, in the Induction to The Malcontent, 1604: “I tell you I am one that hath seen this play often, and can give them intelligence for their action: I have most of the jests of it here in my table-book.Again, in Love's Sacrifice, 1633:

“ You are one loves courtship:
“ You had some change of words ; 'twere no lost labour

“ To stuff your table-books." Again, in Antonio's Revenge, 1602: Balurdo draws out his writing-tables and writes

Retort and obtuse, good words, very good words." Again, in Every Woman in her Humour, 1609:

“Let your tables befriend your memory; write,” &c. Steevens. See also The Second Part of Henry IV:

“ And therefore will he wipe his tables clean,

“ And keep no tell-tale to his memory." York is here speaking of the king. Table-books in the time of our author appear to have been used by all ranks of people. In the church they were filled with short notes of the sermon, and at the theatre with the sparkling sentences of the play. Malone.

Now to my word;] Hamlet alludes to the watch-word given every day in military service, which at this time he says is, Adieu, adieu! remember me. So, in The Devil's Charter, a tragedy, 1607 :

“Now to my watch-word Steevens.

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99

Ham. Hillo, ho, ho, boy, come, bird, come.

Enter HORATIo and MARCELLUS.
Mar. How is 't, my noble lord?
Hor.

What news, my lord ?
Ham. O, wonderful!
Hor.

Good my lord, tell it. Ham.

No;
You will reveal it.

Hor. Not I, my lord, by heaven.
Mar.

Nor I, my lord.
Ham. How say you then; would heart of man once

think it? But you 'll be secret, Hor. Mar.

Ay, by heaven, my lord. Ham. There's ne'er a villain, dwelling in all Denmark, But he's an arrant knave. Hor. There needs no ghost, my lord, come from the

grave, To tell us this.

Ham. Why, right; you are in the right;
And so, without more circumstance at all,
I hold it fit, that we shake hands, and part:
You, as your business, and desire, shall point you;
For every man hath business, and desire,
Such as it isz--and, for my own poor part,
Look you, I will go pray.

Hor. These are but wild and whirling words, my lord.

Ham. I am sorry they offend you, heartily; yes, Faith, heartily.

8 Hillo, -7 This exclamation is of French origin. So, in the Venerie de Jacques Fouilloux, 1635, 4to. p. 12: Ty a hillaut,&c.

Steevens. come, bird, come. This is the call which falconers use to their hawk in the air, when they would have him come down to them. Hanmer.

This expression is used in Marston's Dutch Courtezan, and by many others among the old dramatick writers.

It appears from all these passages, that it was the falconer's call, as Sir T. Hanmer has observed.

Again, in Tyro's Roaring Megge, planted against the Walls of Melancholy, &c. 4to. 1598:

“Yet, ere I iournie, Ile go see the kyte:
" Come, come bird, come : pox on you, can you mute?”

Steevens,

Hor.

There's no offence, my lord.
Ham. Yes, by Saint Patrick, but there is, Horatio,
And much offence too. Touching this vision here,-
It is an honest ghost, that let me tell you:
For your desire to know what is between us,
O'er-master it as you may. And now, good friends,
As you are friends, scholars, and soldiers,
Give me one poor request.
Hor.

What is ’t, my lord?
We will.

Ham. Never make known what you have seen to-night.
Hor. Mar. My lord, we will not.
Ham.

Nay, but swear't.
Hor.

In faith, My lord, not I.

Mar. Nor I, my lord, in faith.
Ham. Upon my sword.
Mar.

We have sworn, my lord, already.
Ham. Indeed, upon my sword, indeed.
Ghost. [beneath] Swear.
Ham. Ha, ha, boy! say'st thou so? art thou there,

true-penny?
Come on,-you hear this fellow in the cellarage,--
Consent to swear.
Hor.

Propose the oath, my lord.
Ham. Never to speak of this that you have seen,
Swear by my sword.3

1

by Saint Patrick,] How the poet comes to make Hamlet swear by St. Patrick, I know not. However, at this time all the whole northern world had their learning from Ireland; to which place it had retired, and there flourished under the auspices of this saint. But it was, I suppose, only said at random; for he makes Hamlet a student of Wittenberg: Warburton.

Dean Swift's “Verses on the sudden drying-up of St. Patrick's Well, 1726,"contain many learned allusions to the early cultiva. tion of literature in Ireland. Nichols.

true-penny?] This word, as well as some of Hamlet's former exclamations, we find in The Malcontent, 1604:

Illo, ho, ho, ho; art thou there old True-penny ?Steevens.

Swear by my sword.] Here the poet has preserved the manners of the ancient Danes, with whom it was religion to swear upon their swords. See Bartholinus, De causis contempt. mort. apud Dan. Warburton.

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