42 will, though you can fret me, you cannot play upon me. Enter POLONIUS. God bless you, sir! Pol. My lord, the queen would speak with you, and presently. Ham. Do you see yonder cloud, that's almost in shape of a camel? Pol. By the mass, and 'tis like a camel, indeed. Ham. Methinks, it is like a weasel. Pol. It is back'd like a weasel. Ham. Or, like a whale ? Pol. Very like a whale. Ham. Then, will I come to my mother by and by. They fool me to the top of my bent.- I will come by and by. Pol. I will say so. Ham. By and by is easily said. friends. [Exeunt all but HAMLET. 'Tis now the very witching time of night, When church-yards yawn, and hell itself breathes out Contagion to this world: now could I drink hot blood, And do such bitter business as the day' mother. 43 now to my O, heart! lose not thy nature; let not ever The 42 Hamlet keeps up the allusion to a musical instrument. frets of a lute or guitar are the ridges crossing the finger-board, upon which the strings are pressed or stopped. Of course a quibble is intended on fret. H. 43 Thus the folio; the quartos read, "such business as the bit ter day." In the second line before, the quartos have breaks in stead of breathes. H. The soul of Nero enter this firm bosom : 44 SCENE III. A Room in the Same. Enter the King, ROSENCRANTZ, and GUILDEN STERN. King. I like him not; nor stands it safe with us, The terms of our estate may not endure Guil. We will ourselves provide. Most holy and religious fear it is, To keep those many many bodies safe, Ros. The single and peculiar life is bound, 44 To shend is to injure, whether by reproof, blows, or otherwise. Shakespeare generally uses shent for reproved, threatened with angry words. "To give his words seals" is therefore to earry his punishment beyond reproof. The allusion is the sealing a deed to render it effective. So the folio; the quartos read "so near us" instead of " sơ dangerous," and brows instead of lunacies. H What's near it with it: it is a massy wheel, age; For we will fetters put upon this fear, Which now goes too free-footed. Ros. Guil. We will haste us. [Exeunt. Enter POLONIUS. Pol. My lord, he's going to his mother's closet. Behind the arras I'll convey myself, To hear the process: I'll warrant, she'll tax him home; And, as you said, and wisely was it said, "Tis meet that some more audience than a mother, 2 And tell you what I know. King. Fare you well, my liege: O! my offence is rank, it smells to heaven; 3 "Speech of vantage" probably means "speech having the advantage of a mother's partiality." H. That is, "though I were not only willing, but strongly inclined to pray, my guilt would prevent me." And, like a man to double business bound, And what's in prayer, but this two-fold force,-- Or pardon'd, being down? Then, I'll look up; Be soft as sinews of the new-born babe : [Retires and kneels. That is, caught as with birdlime. See 2 Henry VI., Act i sc. 3, note 6. This speech well marks the difference between crime and Enter HAMLET. Ham. Now might I do it, pat, now he is praying And now I'll do't:- That would be scann'd:' A villain kills my father; and, for that, Why, this is hire and salary, not revenge.7 Up, sword; and know thou a more horrid hent : guilt of habit. The conscience here is still admitted to audience. Nay, even as an audible soliloquy, it is far less improbable than is supposed by such as have watched men only in the beaten road of their feelings. But the final "All may be well!" is remarkable; - the degree of merit attributed by the self-flattering soul to its own struggles, though baffled, and to the indefinite half promise, half command, to persevere in religious duties. COLE RIDGE. H. 6 That requires consideration. In the first line of this speech, the quartos read but now 'a is a praying," instead of "pat, now he is praying." And in the fifth line, the folio has foul instead of sole. H. 7 Thus the folio; the quartos have “base and silly” instead of "hire and salary." H. That is, more horrid seizure, grasp, or hold. Hent was often used as a verb in the same sense. See The Winter's Tale, Act iv. sc. 2, note 19. Dr. Johnson and others have exclaimed against what Hamlet here says, as showing a thorough-paced and unmitigable fiendishness of spirit. Coleridge much more justly regards the motives assigned for sparing the king, as "the marks of reluctance and procrastination." At all events, that they are not Hamlet's real motives, is evident from their very extravagance. |