xxxviii 6 with observation, confident in his knowledge, proud of his eloquence, and declining into dotage. His mode of oratory is truly represented as designed to ridicule the practice of those times, of prefaces that made no introduction, and of method that embarrassed rather than explained. This part of his character is accidental, the rest is natural. Such a man is positive and confident, because he knows that his mind was once strong, and knows not that it is become weak. Such a man excels in general principles, but fails in the particular application. He is knowing in retrospect, and ignorant in foresight. While he depends upon his memory, and can draw from his repositories of knowledge, he utters weighty sentences, and gives useful counsel; but as the mind in its enfeebled state cannot be kept long busy and intent, the old man is subject to sudden dereliction of his faculties, he loses the order of his ideas, and entangles himself in his own thoughts, till he recovers the leading principle, and falls again into his former train. This idea of dotage encroaching upon wisdom, will solve all the phenomena of the character of Polonius.'-DR. JOHNSON. ... "Of the petty anachronisms which send Hamlet to Wittemberg, which allow Ophelia to call for a coach, and the King's palace to resound with salvos of artillery, we make small account. The great length appears by no means an imperfection of this drama as a composition, whatever it may be as an acting play. The analysis of the motives of human action, which is the great object of this work, could not have been effected if the action were rapid. Rapidity of action is inconsistent with philosophic self-analysing motives and modes of thought; while the slow and halting progress of the action, in this drama, not only affords to the character space and verge enough to unfold its inmost peculiarities of thought and feeling, but developes in the mind of the reader a state of metaphysical receptivity scarcely less essential to its full appreciation.'—DR. BUCKNILL'S Psychology of Shakspeare. Lords, Ladies, Officers, Soldiers, Players, Grave-diggers, Sailors, Messengers, and other Attendants. SCENE-ELSINORE. HAMLET PRINCE OF DENMARK. ACT I. SCENE I.-Elsinore. A Platform before the Castle. FRANCISCO on his post. Enter to him BERNARDO. Fran. You come most carefully upon your hour. Ber. "T is now struck twelve; get thee to bed, Francisco. Fran. For this relief, much thanks: 't is bitter cold, And I am sick at heart. Ber. Have you had quiet guard? Fran. Not a mouse stirring. 1 Who's there?] These words are significant of some agitation in the speaker. 2 Long live the king!] The watchword. Ber. Well, good night. If you do meet Horatio and Marcellus, The rivals1 of my watch, bid them make haste. Ber. Welcome, Horatio; welcome, good Marcellus. Mar. Horatio says, 't is but our fantasy; And will not let belief take hold of him, Touching this dreaded sight, twice seen of us : Therefore I have entreated him along, With us to watch the minutes of this night; That, if again this apparition come, He may approve our eyes, and speak to it.5 Rivals.] Partners, companions. 2 Give you.] An abridgment of God give you. 30, farewell.] Marcellus uses the interjection, as not having known that Francisco had been relieved. 1 A piece of him.] This is merely a jocular expression, indicating Horatio's freedom from all apprehension about the ghost. 5 Approve our eyes, &c.] Assure himself of what we have seen, and speak to it, as only a scholar can do. (See Note 2, p. 5.) |