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i$mr. No Ham. Ji
Osr. A bit, a very palpable bit. Lmcr. Well,—again King. Stay, give me drink; Hamlet, this pearl la thine; Here's to thy health.—Give him the cup.
[Trumprts sound; and Cannon shot off within.
I'll play this bout first, set it by awhile.
-Another hit; What say you?
[They play. Laer. A touch, a touch, I do confess. King. Our son shall win. Queen. He's fat, ami scant o'hreath.— Here, Hamlet, take my napkin. * rub thy brows: The queen carouses t to thy fortune, Hamlet.
Ham. Good madam,
King. Gertrude, do not drluk. <lurni. I will, my lord; I pray you, pardon me.
King. It Is the poison'd cup; It Is too late.
Ham. 1 dare not drink yet, madam; by and by.
£ucen. Come, let mc wipe thy face.
I pray you, pass with your best violence;
Osr. Nothing neither way. /.aer. Have at you now. [laertes unmnds Hamlet; then, in scuffling, they change Rapiers, and Hamlet wounds Laertks. King. Part them, they are incens'd. Ham. Nay, come again. [The Queen falls. Osr. Look to the queen there, ho I Hor. They bleed on both sides:—How is it,
my lord t Osr. How is't, Laertes? Laer. Why, as a woodcock to my own springe,
* am justly kill'd with mlue own treachery. Ham. How does the qneen f King. She swoons to see them bleed. Queen. No, no, the drink, the drink,—O my dear Hamlet! The drink, the drink: [ am poison'd 1 [Dies. Ham. O villany I—Ho I let the door be lock'd:
Treachery I seek it ont. [laertes falls.
Laer. It Is here, Hamlet: Hamlet, thou art slain;
No medlciue In the world can do thee good.
Ham. The point
[Stabs the Kino.
Osr. £ Lords. Treason! treason I
King. O yet defend me, friends, I am but hurt.
Ham. Here, thou Incestuous, mnrd'rous, damned Dane, Prink oft" this potion :—Is the union hcrel Follow my mother. [king dies.
Laer. He Is Justly serv'd; It Is a poison temper'd Q by himself.— Eichange forgiveness with me, noble Hamlet:
Mine and my father's death thee;
Nor thine on me. [Dies. Ham. Heaven make thee free of It 1 I follow thee.
I am dead, Horatio:—Wretched queen, adieu 1
Hor. Never believe it;
Ham. As thou'rl a man,—
0 God 1—Horatio, what a wounded name,
If thou didst ever hold me In thy heart,
[March afar offt and Shot within. What warlike noise Is this f
Ors. Young Fortinbras, with
Ham. O 1 die, Horatio;
1 cannot live to hear the news from Euglaud: But I do prophesy the electiou lights
On Fortiubras; be has my dying voice;
So tell him, with the occurrent* ; more or less,
Which have solicited, $— The rest is silence.
Hor. Now cracks a noble heart;—Good night, sweet prince; And flights of angels sing thee to thy rest I— Why does the drum come hither f
Enter Fortinbras, the English AmbasSadors, and others. Fort. Where is this sight t Mar. What is it, you would Beet If aught of woe, or wonder, cease yonr search. Fort. This quarry || cries on havoc I «J—O proud death 1
What feast is toward in thine eternal cell.
1 Amb. The sight is dismal: And our afTairs from England come loo late; The ears are senseless, that should give us
Hor. Not from his mouth,**
Arc here arriv'd; give order that these bodies
And, in this upshot, purposes mistook
And call the noblest to the audience
Which now to claim my vantage dolh invite me.
/for. Of that 1 shall have also cause to speak, And from his mouth whose voice will draw on more:
But let this same be presently performed
Even while men's minds are wild; lest more
On plot* and errors.
B^ar Hamlet, like a soldier, to the stage;
The soldier's music, and the rites of war.
la reply to an objection which was rats*.-J by an eminent critic, and has been repeated with considerable jnelice *»yall wlio have aince written on the incident! of thia piny* via that ** there appear* no adequate cause for the feigned madness of Hamlet | >t he dDm nothing which be might not have done with the reputation of sanity; playtag the madman moat when he treata Ophelia with Bo much rudeness, which lermi to be useless and wanton cruelty,"—tbe fallowing novel and satisfactory opinion, coadenaed from the remark* of a moat intelligent and , may be advantageously quoted -."-Hamlet resolved to counterfeit madness that be
thia he mutt hate been, having
iaat hia father'* f have no weight with any other Arming tbo atory of the ghost,
a amid by tbe gho<t to himtclf alone f and of course it would Wishing for additional evidence, he bail recourse to the play, which conby killing hia uncle, but for tha
e of finding him on hii knees at prayer ; and shortly afterwards be actually supposed ho 1 do tie it, when he stabbed Polonius behind tbe arras, and, finding hia mistake, solemnly conjured hia mother to retain the secret of hia madness being feigned. His treatment of " tbe young, the beautiful, the harmless, and tbe pious Ophelia" may be explained in the same way I for if he behaved in such a frantic manner to her, who was •he object of his tenderest regard, It li a certain consequence that not a donbt could be entertained by others of tht rtutiti of his distraction; and thus the delusion waa complete.—Bmmdltr versus Aweioa.
OTHELLO, THE MOOR OP VENICE.
LITERARY AND HISTORICAL NOTICE. I HE story upon which this beautiful and instructive tragedy is founded* was taken, according to Mr. Pope, from Cynthio's novels. It was probably written in the year lilt. Muitapba, Sclymus's general, invaded Cyprwa In May 1570, and conquered it in the following year. His fleet first sailed towards that island s but immediately chancing its course for Rhodes, formed a junction with another squadron, and then returned to the attack of Cyprus: thus the actual historical periods of the performance are satisfactorily determined.. In addition to the admirable lesson set forth iu this impressive tragedy, so well calculated to produce an excellent effect upon the human mind, by pourt raying that baneful passion, which, wheat once indulged, is the inevitable destroyer of conjugal happiness t it may justly be considered aa one of the noblest efforts of dramatic genius, that has appeared In any age, or in any language. "The fiery openness of Othello, (soys Dr. Johnson) mag* iianimous, artless, and credulous i boundless in hie confidence, ardent in bis aHcclkin, inflexible in his resolution , and obdurate iu hia revenge—the soft simplicity of Desdemona, confident of merit, and conseious of innocence: her artless perseverance in her suii, and her slowness to suspect that she can be suspected—the cool malignity of lago, silent in his resentment, subtle in hia designs, and studious at one* of bis interest and his vengeance—are such proofs ofSbakspcare's skill in busnen nature, as I suppose it i* in vain to seek in any modern writer ; whilst even the iuferior characters would be very conspicuous in any other piece, not only for tbetr justness, but their strength." In proportion to the enormity of such a crime aa adultery, should be the cautioo with which a suspicion of it is permitted to be entertained j and our great dramatic moralist was no donbt desirous of enforcing this maxim, when he made U, he has dune, the subject of no lest than four of his most finiihed productions.
Due* Op Vrnick.
Clown, Servant to Othello.
Desuimona, Daughter to Brabantlo, and
fVi/e to Othello. Emilia, Wife to Jago. Biakca, a Courtezan, Mistress to Casslo.
Officers, Gentlemen, Messengers, Mustcans,
Scene, for (he first Act, In Venice; during the test of the Play, at a Sea-port In Cyprus.
SCENE I.—Venice.—A Street.
That thon, Iago,—who hast had my purse,
Iago. *Sblood, but you will not hear mo
Bod. Thou told'st me, thou didst hold him in
Jago. Despise me, if I do not. Three great
• SalufU « Circumlocution.
My mediators ; for, certes, • says he,
Wherein the toged consuls $ con propose
By debitor and creditor; this counter-caster, Q
f For H'(/v soma read life, supposing ft to allude tn the denunciation in the Gospel. " Woe unto you when nil men shall speak well of you." t Theory.
Rulers or the state. | It was anciently l*M
i practice In reckon up sums with counters.