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This world is not for aye; nor 'tis not strange
Thateven our loves thould with our fortunes change.
For 'tis a question left us yet to prove,
Whether love leads fortune, or else fortune love?
The great man down, you mark, his fav’rite flies ;
The poor advanced, makes friends of enemies.
And hitherto doth Love on Fortune tend,
For who not needs, Thall never lack a friend;.
And who in want a hollow friend doth try,
Dire&tly feafons him his enemy.
But orderly to end where I begun,
Our wills and fates do lo contrary run,
That our devices still are overtbrown;
Our thoughts are ours, their ends none of our own.
Think stili thou wilt no second halvand wed ;
But die thy thoughts when thy first Lord is dead.
Duch. Nor earth to give me food, nor heaven

light !
Sport and repose lock from me day and night!
To desperation turn my trust and hope !
An anchor's cheer in prison be my scope !
Each opposite, that blanks the face of joy,
Meet what I would have well, and it destroy!
Both here, and hence, pursue me lasting strife !
If once a widow, ever I be a wife.

Hain. If she should break it now
Duke. 'Tis deeply sworn; sweet, leave me here

a while;
My fpirits grow dull, and fain I would beguile
The tedious day with fleep.

[Sleepso Duch. Sleep rock thy brain, And never come mischance between us twain !

[Exit. Ham. Madam, how like you this play? Queen. The lady proteils too much, methinks.

Ham. Oh, but she'll keep her word. King. Have you heard the argument? is there ne offence in't?

Ham. No, no, they do but jest, poison in jest, nooffence i' the world.

King. What do you call the play?

Ham. The Moule-Trap; -Marry, how? tropically. This play is the image of a murder done in Vienna; Gonzago is the Duke's name. his wife's Baptifta; you shall fee anon, 'tis a knavilh piece of work; but what o' that? your Majesty, and we that have free souls, it touches us not; let the gal. led jade winch, our withers are unrung.

This is one Lucianus, nephew to the Duke.
Oph. You are as good as a Chorus, my

Ham. I could interpret between you


your love, if I could see the puppets dallying.

Oph. You are keen, my Lord, you are keen.

Ham. It would cost you a groaning to take of my edge.

Oph. Still better and worse. (40)

(40) Still worse and worse.

Ham. So you must take your husbands.) Surely, this is the most uncomfortable lefion that ever was preached to the poor ladies; and I can't help wishing, for our own sakes too, it mayn't be true. 'Tis too foul a blot upon our reputations, that every husband that a woman takes must be worse than her former. The Poet, I am pretty certain, intended no such scandal upon the sex. But what a precious collator of copies is Mr Pope! All the old Quartos and Folios read; Ophel. Still better and worse.

Ham. So you mistake husbands. Hamlet is talking to her in such gross double entenders that The is forced to parry them by indirect answers; and remarks, that though his wit be smarter, yet his meaning is more blunt. This I think is the sense of her -Still beta

Ham. So you mistake your hulbands. Begin, murderer.-- Leave thy damnable faces, and

begin. Come, the croaking raven doth bellow for revenge. Luc. Thoughts black, hands apt, drugs fit, and

time agreeing : Confederate season, and no creature seeing : Thou mixture rank, of midnight weeds collected, With Hecate's ban thrice bla!ted, thrice infested, (41) Thy natural magic, and dire property, On wholfоine life ufurp immediately.

[Pours the prison into his ears. Ham. He poisons him i' the garden for's ettate; his name's Gonzago; the story is extant, and writ in choice Italian. You shall see anon how the murderer gets the love of Gonzago's wife. ter and worse. This puts Hamlet in mind of the words in ihe church service of matrimony, and he replies, so you mistake husbands, i. e. fo you lake husbands and find your. felves mistaken in them.

(41) With Hecate's bane thrice blufled,] Here again Mr Pope appoves himself a worthy collator; for the old Quartos and Folios concur in reading, as I have reformed the text;

With Hecate's bany thrice blasted. inc. With ber curfe, execration. So, in Timon;

Take thou that too, with multiplying banns. 2 Henry VI.

Ay, every joint should seem to curse and bann. And again;

You bade me bann, and will you bid me leave? Ibid.

&c. &c. &c. Besides, words of execreation have been always practised in magical operations. So Horace, to give a single instance;

Cavida, parce vocibus tandem facris. Upon which words Parphyrion has given us this short commcnt. Dialogus nunc de facris, quia lacrum religiosum et execrabile Significat ---Hermannus Figulus thus explains it; Vocibus faCris. Malis cantibus, et verbis magicis. And Badius Ascentius Bill Dearer to our purpose; facris] id eft, diris ct imprecationikas is me abftine.

Oph. The King rifes.
Ham. What, frighted with false fire !
Queen. How fares


Lord ?
Pol. Give o'er the play.
King. Give me some light. Away !
All. Lights, lights, lights !

Ham. Why, let the strucken deer go weep,

The hart ungalled play;
For some must watch, whilst some must deep;

So runs the world away. Would not this, Sir, and a forest of feathers, (if the rest of my fortunes turn Turk with me) (42)

(42) With two provincial rofes on my rayed shoes,

Get me a fellowship in a city of players, Šir?) I once sufpected that we ought to read raised thoes. By a foreli of feathers, he certainly alludes to the plumes worn by the stage heroes; as, hy rafed Thoes he would to their buskins; the cothurni, as they were called by the Romans, which were as much higher in the heel than other common shoes, as the chioppines worn by the Venetians are. It was the known custom of the tragedians of old, that they might the nearer resemble the heroes they personated, to make themselves as iall in ftature, and by an artificial help to found, to Speak as big as they poslibly could. To both these Horace has alluded ;

- magnumque loquio nitique cothurne. And Lucian, describing a tragedian, calls him ävIpwios iubátous ut maurs i TogMiVos, a fellow carried upon high thes; and these were raised to such a degree, that the same author calls one, who had pulled them off, xalala's årò twx {ubádwve' descending from this buskins. But, perhaps, rayed thocs may have been our Author's expresion, i. ce striped, span. gled, enriched with some shining ornaments; brafteaticales, Thoes variegated with rayes of gold. Bractea, a ray of gold, or any other metal. Little:on. A ray of gold, fueille d'ora Cotgrave. - -lo a city of players.] Thus Mr Pope, with some of the worser editions; but we must read, cry with the better copies, i. e, in the vote and suffrage of a company of players.

with twc provincial roses on my rayed shoes, get me a fellowship in a cry of players, Sir?

Hor. Half a share.

Ham. A whole one, I. “ For thou dost know, oh Damon dear,

“ This realm dismantled was Of Jove himself, and now reigns here

“ A very, very,---(43) paddock.” Troilus and Creffla;

The cry went once for thee.-
Coriolinus ;

You coinmon cry of ours, &c.
And again;
Melle. You have made good work,

You and your cry. 2 Henry IV.

joid. For all the country in a general voice Cried hate upon

him. (43) A very very peacock.] The old copies have it paicck, parecke, and pajocke. I fubstituted pardock, as nearest to the traces of the corrupted reading. I have, as Mr Pope says, been willing to subftitute any thing in the place of his pracock. He thinks a fable alluded to of the birds chuling a king; instead of the eagle a pearork. I suppose, he must mean the fable of Barlandus, in which it is said the birds, being weary of their rate of anarchy, moved for the setting up of a king; and the percock was elected on account of his gay feathers. But, with submiflion, in this passage of Shalefpeare, there is not the least mention made of the ea le in antithefis to the peacock; and it must be by a very uncommon figure that Jove himself stands in the place of his bird. I think Hamlet is setting his father's and uncle's characters in ceniraft to each other, and means to say, that by his father's death the state was stripped of a godlike monarch, and that now in bis stead reigned the most despicable poisonous animal that could be: a mere paccock or ioaa. Pad, bufi, rubeta major, a toad. Belis, padde. Vid. Sumnerum, Minjhew, &c. Our Author was very well acquainted with the word, and has used it more than once. Macbeth ;

I come, Grimalkin. 2 Witch. Paddock calls.

i Witch.

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