p-r SHARSPEARE. SERIES I. — HAMLET. From each of the dramatic scenes of Shakspeare that inspired Retzsch with the subjects of his graphic illustrations, we have considered it would be highly useful to give ex- tracts, for the purpose of explaining the artist’s idea. The publication of Hamlet will be followed by that of Macbeth , King Lear, Othello, Romeo and Juliet , and other works of the english jEschylus. Each series will contain the illus- trations of one of Shakspeare’s plays, and may be had separately. Retzsch , a german draughtsman , published some years since a collection of 26 draw- ings , representing the principal scenes in Goethe’s diama of Faust. These drawings, where spirit is blended with grace and expression , established his re- putation throughout Europe; they have been copied in France and in England. From this artist, who engraved his own designs, we possess also a collection in which he has put in action Schiller’s ballade of the Dragojv, and another on Fridojlik, which are nearly ready for publication. Paris. — PRiKTiii) by Rigaoux, n'’8, Frakc Citizens street. Digitized by the Internet Archive in 2017 with funding from Getty Research Institute https://archive.org/details/galleryofshakspeOOshak GALLERY OF IHAES1F»EA11 OR 3llu0trati0n0 of Ijio trramatii* toorko^ ENGRAVED IN AQUA-FORTIS FROM RFTZSCH, WITH SCENES SELECTED FROAl SHAKSPEARE AND EXPLANATIONS HAMLET. C®n5l®U : CHARLES TILT, 8f>, FLEET STREET. SMAKSIPEARE PI. 1. ! i . I. Aluiot edit. I; ‘ i I APOTIiEOSE S£RIES I, HAMIi£T. Pl;£, THE APOTHEOSIS OF SHAKSPEARE. ^^'ere a monument to be raised to the most cele- brated of English poets, like that which antiquity has already erected to Homer in Scio and Smyrna , the inspired pencil of Retzsch should indicate the plan, and the apotheosis which precedes his allegorical work should figure as its pediment. The eagle with extended wings, the two divi- nities which accompany it and may be said to personify the Thames and the Avon, rivers of Eng- land, similar to the Meander and llissus ; the con- templative attitude of the poet and the genii near him, call to mind that beautiful composition which ornaments a precious curiosity, in the cabinet of antiquities, belonging to the king of Naples, and formerly perhaps among the bas-reliefs of a cele- brated temple. The eagle, with which the german artist has de- signed the symbol of the apotheosis , supports the throne and the feet of the poet ; its eyes are turn- ed towards him with affection , and express how light the burthen is that it supports , how much it rejoices in bearing him above the clouds , and in transporting him towards those regions of glory, where in a circle already are assembled, half visible, those sublime bards Homer, AEschylus, Ossian, etc. The book open on the knees of the poet contains the celestial fruits of his sacred inspiration. Two nohle and benignant muses, in the air and on either side of him, sustain above his head the crown of im- mortality; one of them surrounded with floating draperies, represents the melancholy Melpomene. The tragic mask that covers half her forehead, ren- ders the expression of her downcast eyes more grave and solemn ; she bears the sword with which in Hamlet she plays so terrible a part. The other , light and gay, has thrown back her comic mask; the pastoral crook announces the laughing Thalia , and characterises her rustic origin. In fine, tlie two genii, emblematic perhaps of fame, in being attached to the supporters of his throne, complete the symbolic group. ( Translation.) I. Series I. HAM1.ET. Pl. 2. INTRODUCTION. It -would have been a glorious triumph for the artist if the 17 designs composing this collection could have been given without explanations, and if in each of them the feeling, which is extended through the whole of the subject , could have been readily discovered; but this difficulty is too great entirely to overcome. However the affixed plate must perhaps be considered as an expressive and ingenious intro- duction to the forth-coming, since the fratricide and the manner in which the murder was perpe- trated form its subject. It is worthy of remark that when Retzsch con- ceived the first outline of this sketch, he had not seen the picturesque work that Thurston bad con- secrated to the genius of Shakspeare, and which had been engraved on , wood by the accomplished Thompson; and yet the two artists were inspired by the same subject , but with this difference, that Thurston has given it in a manner purely symboli- cal , and Retzsch in his illustration has put all the allegory into the accessories. The secret murder appears before our eyes as the gliost relates it to Hamlet. Claudius, perfidiously profiting of his brother’s sleep, pours into his car the poisonous jniceof hen-bane, which, according to the received belief in those times of ignorance, was mortal, and he places at the same time his daring hand upon the royal crown. The scene is not taking place in an orchard, as according to the poet, but under the portico of a gothic building, through !■ the opening of which the trees of the garden may be ]>erceived. This light variation from the text has ** allowed the artist to surround his group with em- blematic objects which heighten the general effect. For instance, the form and decoration of the seat, on which the monarch overcome by sleep has pla- ced his crown , is not without a meaning : in giving t it the feet of a lion for its support and the head of an angel as an ornament, tlie artist had in view the idea of representing, strength and mildness, ' virtues upon which the power and the might of all kingdoms are sustained. The entrance of the gotliic arch presents us with a singular object, it is the face of an old man, whose beard and long hairs fall negligently upon his breast. The sunken eyes of his austere face are fixed upon the action Sene. 1. Truei sc^. K.\M I ,ET. Introduction PI 2 . Axid^tt which the murderer is committing, implying, accor- ding to the idea of the artist , that walls , as the an- cient proverb says, have eyes as well as ears, and, tljerefore , that the most secret crime can never ultimately escape punishment. The imposing statue of the inflexible Nemesis, placed in a niche behind, confirms the truth of this idea , whilst her attribu- tes — the sword lifted over the murderer, the pair of scales which weigh the actions of the dead , and the penetrating eye of justice which adorns the bosom of the goddess are conclusive; the serpent that she treads under her feet, calls to mind the words of the ghost : « The serpent that did sting thy father’s life; « Now wears liis crown. » (^Translation.) HAMLET. DRAMATIS PERSONAE. Claudius, King of Denmark. Hamlet, Son to the former, and Nephew to the pre- sent King. PoLONius, Lord Chamberlain. Horatio, Friend to Hamlet. Laertes, Ao/i to Polonius. VoLTIMAND, \ Cornelius, | „ t Courtiers. Rosencrantz, Guildenstern , / OsRic, a Courtier. Another Courtier. A Priest. Marcellus, I Bersakdo, I Francisco, a Soldier. Reynaldo, Servant to Polonius, A Captain. An Ambassador. Ghost of Hamlet’s Father. Fortinbras , Prince of Norway. Gertrude , Queen of Denmark , and Mother of Hamlet. Ophelia, Daughter of Polonius. Lords, Ladies, Officers, Soldiers, Players, Grave- diggers, Sailors, Messengers, and other At- tendants. Scene, Elsinore. i I'ii: Nil ii Ml PL 3. Triicb HAMLET. Act. 1. Scene 4^ ^4iult>t edit. Series I. Pl. 3, HAMLET. ACT I. SCENE 4- Horatio. It beckons you to go away with it, As if it some impartment did desire To you alone. Marceeeus. Look, with what courteous action It waves you to a more removed ground : But do not go with it. Horatio. No, by no means. Hawlet. It will not speak; then I will follow it. Horatio. Do not, my lord. Hamlet. Why what should be the fear ? I do not set my life at a pin’s fee; And, for my soul, what can it do to that. Being a thing immortal as itself? It waves me forth again ; — I’ll follow it. Horatio. What, if it tempt you toward the flood, my lord. Or to the dreadful summit of the cliff. That beetles o’er his base into the sea? And there assume some other horrible form. Which might deprive your sovereignty of reason, And draw you into madness? think of it; The very place puts toys of desperation. Without more motive, into every brain. That looks so many fathoms to the sea. And hears it roar beneath. Hamlet. It waves me still ; — • Go on. I’ll follow thee. Marcellus. You shall not go, my lord. Hamlet. Hold off your hands. Horatio. Be rul’d, you shall not go. Hamlet. My fate cries out. And makes each petty artery in this body As hardy as the Nemean lion’s nerve. — {^Ghost beckons. Still am I call’d ; — unhand me gentlemen ; — ( Breaking from them.) By heaven, I’ll make a ghost of him that lets me ; - I say, away : — Go on. I’ll follow thee. {Exeunt Ghost and Hamlet) Series I. HA9ILET. ACT I. SCENE 5. Pl. 4. Ghost (Jjeneatli). Swear. Hamlet. Ha, ha, boy ! say’st thou so ? art thou there, true-penny? Come on, — you hear this fellow in the cellarage, — Consent to swear. Horatio. Propose the oath, my lord. Hamlet. Never to speak of this that you have seen, Swear by my sword. Ghost {benealli). Swear. Hamlet. Hie et uhique P then we’ll shift our ground : — Come liither, gentlemen, And lay your hands again upon my sword: Swear by my sword. Never to speak of this that you have heard. Ghost {beneath). Swear by his sword. Hamlet. Well said, old mole! can’st work i’the earth so fast? A worthy pioneer! — Once more remove, good friends. Horatio. Oh day and night, but this is wondrous strange ! Hamlet. And therefore as a stranger give it wel- ■ come. Tliere are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy. But come ; — Here, as before, never, so help you mercy ! How strange or odd soe’er I bear myself. As I, perchance, hereafter shall think meet To put an antick disposition on, — That you, at such times seeing me, never shall. With arms encumber’d thus, or this head-shake, Or by pronouncing of some doubtful phrase, As, Well, well, we know; — or. We could, and if we would ; — or. If we list to speak; — or, There be, an if they might ; Or such ambiguous giving out, to note That you know aught of me ; — This do you swear, So grace and mercy at your most need help you ! Ghost {beneath). Swear. Hamlet. Rest, rest, perturbed spirit! So gent- lemen. With all my love I do commend me to you : And what so poor a man as Hamlet is May do, to express his love and friending to you, God willing, shall not lack. Let us go in together; And still your fingers on your lips, I pray. The time is out of joint; — O cursed spite ! That ever I was born to set it right! Nay, come, let’s go together. (E.veunt.) Serie. I. PI. 4. HAMLKT. 'let. 1. Srene 3. 3 ^ \ Series I. HAMLET. ACT III. SCENE I. Pl. 5. PoLONius. Ophelia, walk you here: — Gracious, so please you. We will bestow ourselves ; — Read on this book; {To Ophelia.) That show of such an exercise may colour Your loneliness. — We are oft to blame in this, — ’Tis too much prov’d, that, with devotion’s visage, And pious action, we do sugar o’er The devil himself. King. O, ’tis too true! how smart A lash that speech doth give my conscience ! The harlot’s cheek, beautied with plast’ring art. Is not more ugly to the thing that helps it, Than is my deed to my most painted word; O heavy burden ! {Aside.) PoLONius. I hear him coming; let’s withdraw, my lord. {Exeunt King and Polonius.) Enter Hamlet. Hamlet. To he, or not to he, that is the question : — Whether ’tis nobler in the mind to suffer The stings and arrows of outrageous fortune ; Or to take arms against a sea of troubles, And, by opposing, end them ?— To die,— to sleep, No more ; — and, by a sleep, to say we end The heart-ach, and the thousand natural shocks That flesh is heir to, — ’tis a consummation Devoutly to be wish’d. To die ; — to sleep ; To sleep ! perchance to dream ; — ay, there’s the rub; For in tliat sleep of death what dreams may come, When we have shuffled off this mortal coil. Must give us pause: There’s the respect. That makes calamity of so long life : For who would bear the whips and scorns of time. The oppressor’s wrong, the proud man’s contumely. The pangs of despis’d love, the law’s delay. The insolence of office, and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? who would fardels bear. To grunt and sweat under a weary life ; But that the dread of something after death, The undiscovei-’d country, from whose bourn No traveller returns, — puzzles the will; And makes us rather bear those ills we have. Than fly to others that we know not of? Series I. HAMLET. ACT III. SCENE 2. Pl. 6. King. What do you call the play? Hamcet. The mouse-trap. Marry, how? Tropi- cally. This play is the image of a murder, done in Vienna : Gonzago is the duke’s name; his wife Bap- tista : you shall see anon; ’tis a knavish piece of work : But what of that? your majesty, and we that liave free souls, it touches ut not : Let the galled jade wince, our withers are unwrung, — Enter Lucianus. This is one Lucianus, nephew to the king. Ophelia. You are as good as a chorus, my lord. Hamlet. I could interpret Between you and your love, if I could see the puppets dallying. Ophelia. You are keen, my lord, you are keen. Hamlet. It would cost you a groaning, to take off my edge, Ophelia. Still better, and worse. Hamlet. So you mistake your husbands. — Begin, murderer; — leave thy damnable faces, and begin. Gome ; — - — The croaking raven JDoth bellow for revenge. Lucianus. Thoughts black, hands apt, drugs fit, and time agreeing; Confederate season, else no creature seeing; Thou mixture rank, of midnight weeds collected. With Hecate’s ban thrice blasted, thrice infected. Thy natural magic and dire property. On wholesome life usurp immediately. {Pours the poison into the Sleeper s ears.) Hamlet, He poisons him i'the garden for his estate. His name’s Gonzago; the story is extant, and writ- ten in very choice Italian : You shall see anon, how the murderer gets the love of Gonzago’s wife. Ophelia. The king rises, Hamlet. What! frighted with false fire ! Queen. How fares my lord? PoLONius. Give o’er the play. King. Give me some light : — away! PoLONius. Lights, lights, lights! {Exeunt all but Hamlet and Horatio.) BrancKc AuM't edit. HAMLET. Act. HI. Scene' 2. Series I. HAMZiET. Pl. 7 , ACT III. SCENE 2. Enter the Players, with Recorders. Hamlet. O, the recorders : — let me see one. To Avithdraw with you : — Why do you go about to recover the wind of me, as if you would drive me into a toil? Guildenstern. O, my lord, if my duty be too bold, my love is too unmannerly. Hamlet. I do not well understand that. Will you play upon this pipe ? Guildenstern. My lord, I cannot. Hamlet. I pray you ! Guildenstern. Believe me, 1 cannot. Hamlet. I do beseech you! Guildenstern. I know no touch of it, my lord. Hamlet. ’Tis as easy as lying : govern these ven- tages with your fingers and thumb, give it breath with your mouth, and it will discourse most eloquent music. Look you, these are the stops. Guildenstern. But these cannot I command to any utterance of harmony; I have not the skill. Hamlet. Why, look you now, how unworthy a thing you make of me. You would play upon me; you would seem to know my stops ; you would pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass : and there is much music , excellent voice , in this little organ; yet cannot you make it speak. S’blood, do you think, I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me. Series I. MAMZ.ET. Pl. 8. ACT III. SCENE 3 . Enter Hamlet. Hamlet. Now might I do it, pat, now he is praying; And now I’ll do’t; — and so he goes to heaven : And so am I reveng’d? That would be scann’d : A villain kills my father; and, for that, I, his sole son, do this same villain send To heaven. Why, this is hire and salary, no revenge. He took my father grossly, full of bread ; With all liis crimes broad blown, as flush as May; And, how his audit stands, who knows, save heaven? But, in our circumstance and course of thought, ’Tis heavy with him. And am I then reveng’d. To take him in the purging of his soul. When he is fit and season’d for his passage? No. Up, sword-, and Know thou a more horrid hent : When he is drunk, asleep, or in his rage; Or in the incestuous pleasures of his bed; At gaming, swearing; or about some act That has no relish of salvation in’t : Then trip him, that his heels may kick at heaven ; And that his soul may be as damn’d, and black. As hell, whereto it goes. My mother stays : This physic but prolongs thy sickly days. {Exit.) HAMLET Act. III. Scene' 3. Seric: I. HAMLET^ ^ct. m. Scene.' 4 ■ Series T. HASILET. ACT III. SCENE 4- Pl. g. Enter Hamlet. Hamlet. Now, mother; what’s the matter? Queen. Hamlet , thou hast thy father much of- fended. Hamlet. Mother, you have my father much of- fended. Queen. Come, come, you answer with an idle tongue. Hamlet. Go, go, you question with a wicked tongue. Queen. Why, how now, Hamlet? Hamlet. What’s the matter now? Queen. Have you forgot me ? Hamlet. No, hy the rood, not so; You are the queen, your husband’s brother’s wife; And, — ’woidd it were not so ! — you are my mother. Queen. Nay, then I’ll set those to you that can sjieak. H.amlet. Come, come, and sit you down; you shall not budge; You go not, till I set you up a glass, Wliere you may see the inmost part of you. Queen. What wilt thou do? thou wilt not murder me? Help, help, oh! PoLONius What, ho! help! Hamlet. How now ! a rat ? (Draws.) Dead, for a ducat, dead. (Hamlet mahes a pass through the arras.) PoLONius (behind). O, I am slain! (Falls , and dies.) Queen. O me, what hast thou done ? Hamlet. Way, I know not : Is it the king? (Lifts up the arras; and draws forth Polonius.) Queen. O, what a rash and bloody deed is this! Hamlet. A bloody deed; — almost as bad, good mother. As kill a king, and marry with his brother. Queen. As kill a king! Hamlet. Ay, lady, ’twas my word. — Thou wretched, rash, intruding fool, farewell ! (To Polonius.) I took thee for thy better; take thy fortune : Thou lind’st, to be too busy, is some danger. Leave wringing of your hands : Peace; sit you down, And let me wring your heart: for so I shall, If it be made of penetrable stuff ; If damned custom have not braz’d it so, That it be proof and bulwark against sense. Series I. HAMLET. ACT III. SCENE 4' Pl. io. Queen. O, speak to me no more ; These words, like daggers, enter in mine ears; No more, sweet Hamlet. Hamlet. A murderer, and a villain : A slave, that is not twentieth part the tythe Of your precedent lord ; — a vice of kings : A cutpurse of the empire and the rule ; • Tliat from a shelf the precious diadem stole^ And put it in his pocket! Queen. No more. Enter Ghost. Hamlet. A king Of shreds and patches : Save me, and hover o’er me with your wings. Yon heavenly guards ! — TYhat would your gracious figure? Queen. Alas, he’s mad. Hamlet. Do you not come your tardy son to cliide, Tliat, laps’d in time and passion, let’s go by The important acting of your dread command? O, say ! Ghost. Do not forget : This visitation Is but to whet thy almost blunted purpose. But, look ! amazement on thy mother sits : O, step between her and her fighting soul; Conceit in w eakest bodies strongest works : Speak to her, Hamlet. Hamlet. How is it with you, lady ? Queen. Alas, how is’t with you ? That you do bend your eye on vacancy. And with the incorporal air do hold discour.se? Forth at your eyes your spirits wildly peep; And as the sleeping soldiers in the alarm. Your bedded hair, like life in excrements, Starts up, and stands on end. O gentle son, Upon the heat and flame of thy distemper Sjirinkle cool patience. Whereon do you look? Hamlet. On him ! on him ! Look you, how pale he glares! His form and cause conjoin’d, preaching to stones. Would make them capable. Do notlook upon me; Lest, with this piteous action, you convert My stern effects : then what I have to do Will want true colour; tears, perchance, for blood. Series I. FI. 10. HAMLET. Act. in. Scere 4. Serve/ 1. PI. 11. Brariclie- Axcdct edit. Il N\ fll IP Ij ^41 Uil 111 HAMLET. /^ct. IK Scene 5. Series I. HAMZ.ET. Pl. II, ACT IV. SCENE V. Enter Ophelia , fantastically dressed with straws and flowers Laert. O heat, dry up my brains! tears, seven times salt , Burn out the sense and virtue of mine eye ! — By heaven, thy madness shall be paid vrith weight , Till our scale turn the beam. O rose of May 1 Dear maid, kind sister , sweet Ophelia ! — O heavens ! is’t possible , a young maid’s wits Should be as mortal as an old man’s life ? Nature is fine in love : and , where ’tis fine , It sends some precious instance of itself After the thing it loves. Ophelia. They bore him barefaced on the bier ; Hey no nonny, nonny hey nonny : And in his grave rain'd many a tear ; — Fare you well, my dove ! Laertes. Hadst thou thy wits , and didst per- suade revenge , It could not move thus. Ophelia. You must sing, Downa-down , an you call him a-dow~a. O, how the wheel becomes it! It is the false steward , that stole his master’s daughter. Laertes. This nothing’s more than matter. Ophelia. There’s rosemary , that’s for remem- brance ; pray you , love , remember : and there is pansies , that's for thoughts. Laertes. A document in madness ; thoughts and remembrance fitted. Ophelia. There’s fennel for you, and colum- bines : — there’s rue for you, and here’s some for me : — we may call it, herb of grace o’ Sundays: — you may wear your rue with a difference. — There’s a daisy: — I would give you some violets; but they withered all, when my father died : — They say, he made a good end, — For bonny sweet Robin is all my joy, — {Sings.) Laertes. Thought and affliction, passion, hell itself, she turns to favour, and to prettiness. Ophelia. And will he not come again. i* {Sing^.) And will he not come again ? No, no, he his dead. Go to thy death-bed. He never will come again. His beard was as white as snow. All flaxen was his poll : He is gone, he is gone. And we cast away ?noan; God' a tnercy on his soul.' And of all Christian souls! I pray God. God be wi’ you ! (E.rit Ophelia.) Series L HAMLET. Pl. 12. ACT V. SCENE I. First Clown. This same skull, sir, was Yorick’s skull, the king’s jester. Hamlet. This? {Takes the skull.) First Clown. E’en that. Hamlet. Alas, poor Yorick! ■ — I knew him, Ho- ratio; a fellow of infinite jest, of most excellent fancy ; he hath borne me on his back a thousand times ; and now how abhorred in my imagination it is! my gorge rises at it. Here liuu.g those lips, that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table in a roar? Not one now, to mock your own grinning? quite chap-fallen? Now get yon to my lady’s cham- ber, and tell her, let her paint an inch thick, to this favour she must come; make her laugh at that. — Pr’ythee, Horatio, tell me one thing. Horatio. What’s that, my lord ? Hamlet. Dost thou think, Alexander looked o’ this fashion i’ the earth ? Horatio. E’en so. Hamlet. And smelt so? pah! ( Throws down the skull.) Horatio. E’en so, my lord. H.amlet. To what base uses we may return, Ho- ratio ! Why may not imagination trace the noble dust of Alexander, till he find it stopping a bung- hole? Horatio. ’Twere to consider too curiously, to consider so. Hamlet. No, faith, not a jot; but to follow him thither with modesty enough, and likelihood to lead it : As thus; Alexander died, Alexander was buried, Alexander returneth to dust; the dust is earth; of earth we make loam : And why of that loam, where- to he was converted, might they not stop a beer- barrel ? Imperious Caesar, dead, and turn’d to clay, Might stop a hole to keep the wind away : O, that the earth, which kept the world in awe, Should patch a wall to expel the winter’s flaw! But soft! but soft! aside; — Here comes the king, — {Enter Priests, etc., in Procession; the Corpse of Ophelia, J.aertes , and Mourners following; King, Queen (heir, Trains , etc.) ■# Ti-u^b HAMLET. Act. K Scene/ 1 . Series I. I1AMX.ET. ACT V. SCENE I. Pr,. 1 3, Laertes. Lay her i’ the earth; ■ — ■ And from her fair and unpolluted flesh, May Tiolets spring ! — I tell thee, churlish priest, A minist’ring angel shall my sister be, When thou liest howling. Hamlet. What, the fair Ophelia ! Queen. Sweets to the sweet : Farewell ! [Scattering flowers.) I hop’d, thou should’st have been my Hamlet’s wife; I thought, thy hride-hed to have deck’d, sweet maid, And not have strew’d thy grave. Laertes. O, treble woe Fall ten times treble on that cursed head, Whose wicked deed thy most ingenious sense Depriv’d thee of! — Hold off the earth a while. Till I have caught her once more in mine arms : [Leaps into the grave.) Now pile your dust upon the quick and dead; Till of this flat a mountain you have made, To o’ertop old Pelion, or the skyish head Of blue Olympus. Hamlet, [advancing.) What is he, whose grief Bears such an emphasis? whose phrase of sorrow Conjures the wandVing stars, and makes them stand Like wonder-wounded hearers? this is I, Hamlet the Dane. [Leaps into the grave.) Laertes. The devil take thy soul ! [Grappling with him.) Hamlet. Thou pray’st not well. I pr’f thee, take thy fingers from my throat ; For, though I am not splenetive and rash, Yet have I in me something dangerous. Which let thy wisdom fear : Hold off thy hand. King. Pluck them asunder. Queen. Hamlet, Hamlet! All. Gentlemen, Horatio. Good my lord, be quiet. [The Attendants part them, and they come out of the graer Series I. HAMI.£T. Pl. 14 ACT V. SCENE 2. King. Set me the stoups of wine upon that table: — If Hamlet give the first or second hit, Or quit in answer of the third exchange, Let all the battlements their ordnance fire; The king shall drink to Hamlet’s better health; And in the cup an union shall he throw, Richer than that which four successive kings In Denmark’s crown have worn. Give me the cups; And let the kettle to the trumpet speak, 'fhe trumpet to the cannoneer witliout, The cannons to the heavens, the heavens to earth. Now the king drinks to Hamlet. — Come, begin;™ And you, the judges, bear a wary eye ! Hamlet. Come on, sir ! Laertes. Come, my lord ! (They play.) Hamlet. One. Laertes. No. Hamlet. Judgment. OsRic. A hit, a very palpable hit. Laertes. Well, —again. King. Stay , give me drink : Hamlet., this pearl is thine; Here’s to thj health. — Give him the cup, (Trumpets sound; and cannon shot off within.) Hamlet. I’ll play this bout first, set it by awhile Come.— Another hit; What say you? • (They play.) Serie'. 1. Tnub FI. il HAMLET. <1 Act. V. Acfne- 2. j ft VT . K / Yv PI. i6. HAMLET. Act. K Scenc-y 2. 5tRIES I. HAMLET. ACT V. SCENE 2. Pl. i5. Laertes. Aud yet it is almost against my con- science. {jiside.) Haimeet. Come, for the third, Laertes : You do but dally; I pray you, pass with your best violence ; i am afeard, you make a wanton of me. Laertes. Say you so ? come on. {They play.) OsRic. Nothing neither way. Laertes. Have at you now. {Laertes wounds Hamlet; then , in scuffling, they change rapiers , and Hamlet wounds Laertes.) King. Part them, they are incens’d. Hamlet. Nay, come again. ( The Queen falls.) OsRic. Look to the queen there, ho ! Horatio. They bleed on both sides : — How is it, my lord? OsRic. How is’t, Laertes? Laertes. Why, as a woodcock to my own springe, Osric ; I am justly kUl’d with mine own treachery. Hamlet. How does the queen? K-ING. She swoons to see them bleed. Queen. No, no, the drink, the drink, — O my dear Hamlet! ~ The drink, the drink ; — I am poison’d ! {Dies.) Hamlet. O villainy ! — Ho ! let the door be lock’d : Treachery ! seek it out ! {Laertes falls.) Laertes. It is here, Hamlet : Hamlet, thou art slain ; No medicine in the world can do thee good. In thee there is not half an hour’s life ; The treacherous instrument is in thy hand. Unbated, and envenom’d : the foul practice Hath turn’d itself on me; lo, here I lie. Never to rise again : Thy mother’s poison’d ; I can no more ; the king, the king’s to blame. Hamlet. The point Envenom’ d too ! — Then, menom, to thy work! {Stabs the King.) Osric and Lords. Treason ! ti-eason ! King. O, yet defend me, friends, I am but hurt. Hamlet Here, thou incestuous, damned, murde- rous Dane, Drink off this potion ; — Is the union here? Follow my mother. {King dies.) Series I. HAMIiET. Pl. i6. ACT V. SCENE 2. Horatio, Not from his mouth. Had it the ability of life to thank you ; He never gave commandment for their death. But since , so jump upon this bloody question. You from the Polack wars, and you from England, Are here arriv’d; give order, tliat these bodies High on a stage be placed to the view ; And let me speak, to the yet unknowing world. How these things came about : So shall you hear Of carnal, bloody, and unnatural acts; Of accidental judgments, casual slaugliters; Of deaths put on by cunning, and forc’d cause; And, in this upshot, purposes mistook Fall’n on the inventor, ’s heads : all this can I Truly deliver. Fortinbras. Let us haste to hear it, And call the noblest to the audience. For me, with sorrow I embrace my fortune ; I have some rights of memory in this kingdom. Which now to claim my vantage doth invite me. Horatio. Of that I shall have also cause to speak, And from his mouth whose voiee will draw on more ; But let this same be presently perform’d. Even while men’s minds are wild : lest more mis- chance. On plots, and errors, happen. Fortinbras. Let four captains Bear Hamlet, like a soldier, to the stage; For he was likely, had he been put on. To have prov’d most royally : and, for his passage, The soldier’s musick, and the rites of war, Speak loudly for him. — Take up the bodies ; — Sueh a sight as this Becomes the held, but here shows much amiss. Go, bid the soldiers shoot ! [A dead march. — Exeunt, bearing off the dead BodieSK aft^r which a peal of ordnance is shot off] Sme 1. PI. id llAMl.ET. y. Scye-ne 2 Series I. HAMLET. Pe. 17, EPILOGUE. This drawing exhibits a sort of summary of the piece. Under the form of a funereal monument, it represents the expiatory victims of a dark destiny at last united in death. On the sepulchre reposes the statue of Hamlet; above him the head of the ghost is perceived. His mouth and eyes are open, not only to explain the active part he has in the tragedy, but also that he is its main-spring. On the left are kneeling the figures of the king and queen. A kind of demon lifts his claws in a menacing manner towards the guilty pair, but inclining more especially, in grinding his teeth, toward, the head of the kingly fratricide; who, even from the sleep of death , starts up with all the signs of agony and terror; while the queen, whose features equally express grief and a sort of affright, elevates her hands in the attitude of prayer and repentance. On the opposite side, kneeling and asleep , appear Polonius and Ophelia, over whom an angel extends its protecting hand. The image of Laertes, from the lower part of the tomb, seems to implore forgiveness of heaven for the involun- tary band he had in the murder of Hamlet, in fen- cing with a poisoned weapon. The nature of this death is designed by two swords crossing a heart. The arabesques on which this symbol repose termi- nate by the spirits of genii. The bats’-wings , at the angles of the monument, indicate that the dark deed was done during the night. The skulls refer to the scene of the grave-digger, and are also there perhaps to increase the gloomy terror that pervades the whole play, even tliose that placed monumentally seem to exclaim : O, horrible !... most horrible ! ... are doubtless meant to give still more force to this impression.Their flowing veils terminate in a cross, the emblem of peace and reconciliation. f . ,.w < - V. 7 r ‘*ari,,-i- '.' I ^■■: 4