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No, lec the candied tongue lick absurd Pomp,
Hor. Well, my lord.
(37) And my Imaginations are as foul,
As Vulcan's Stithy. I have ventur'd, against the Authority of all the Copies, to fubftitute Smithy here. I have given my Reasons in the 40th Note on Troilus, to which, for Brevity's fake, I beg Leave to refer the Readers.
Enter King, Queen, Polonius, Ophelia, Rosincrantz, Guil
denstern, and other lords attendant, with a guard carrying torcher. Danish March. Sound a flourish,
Ham. They're coming to the Play'; I must be idle. Get you a
you a place.
Ham. Excellent, j'faith, of the camelion's dish : I eat the air, promise-cramm’d: you cannot feed capons fo.
King. I have nothing with this answer, Hamlet; these words are not mine.
Ham. No, nor mine. Now, my lord; you plaid once i'th' university, you say? :: [To Polonius.
Pcl. That I did, my lord, and was accounted a good actor.
Ham. And what did you enact ?
Pol. I did enact Julius Cæfar, I was kill'd i'th? Capitol : Brutus kill'd me. ::
Ham. It was a brute part of him, to kill so capital a calf there. Be the players ready?
Rof. Ay, my lord, they stay upon your patience.
[Lying down at Ophelia's feet.
Ham. Oh God! your only jig-maker ; what should a man do, but be merry ? For, look you, how chearfully
my mother looks, and my father dy'd within these two hours.
Oph. Nay, 'cis twice two months, my lord.
Ham. So long? nay, then let "the Devil wear black, for I'll have a suit of fables. Oh heav'ns! dye two months ago, and not forgotten yet! then there's hope, a Great man's memory may out-live his life balf a year : but, by'r-lady, he must build churches then ; or else hall he suffer not thinking on,' with the hobby-horse
' ; whose epitaph is, For: oh, for.ob, the bobby-horje is forgot.
Hautboys play." The dumb shew enters. ** (38) Enter a Duke and Dutchess, with regal Coronels, very
lovingly ; the Dutchefs embracing him, and be ber. She kneels; be takes her up, and declines his bead upon her neck; He lays him down upon a bank of flowers ; she seeing him asleep, leaves him." Anon comes in a fellow, takes off his Crown, kisses it, and pours poison in ihe Duke's-ears, and Exit: The Dutchefs returns, finds the Duke dead, and makes passionate aktion. The poisoner, with some two-or three inutes, comes in again, seeming to lament with her. The dead body is carried away. The poisoner wooes the Dutchess with gifts ; she seems loth and unwilling a while, but in the end accepts his love,
[Exeunt. Oph. What means this, my lord ?
Ham. Marry, this is miching Malicho; it means inif chief.
(38) Enter a King and Queen very lovingly :) Thus have the blundering and inadvertent Editors all along given us this Stage-Direction, tho' we are expressly told by Hamlet anon, that the Story of this introduced Interlude is the Murther of Gonzago Duke of Vienna. The Source of this Mistake is easily to be accounted for, from the Stage's dresing the Characters. Regal Coronets being at first order'd by the Poet for the Duke and Dutchess, the succeeding Players, who did not strictly observe the Quality of the Persons or Circumstances of the Story, mistook 'em for a King and Queen ; and fo the "Error was deduced down from thence to the present Times. Methinks, Mr, Pope might have indulgʻd his private Sense in fo obvious a Mifake, without any Fear of Rashness being imputed to him for the arbitrary Correction!
Oph. Belike, this shew imports the Argument of the Play?
Ham. We shall know by this fellow: the Players cannot keep counsel, they'll cell all.
Oph. Will he tell us, what this shew meant ?
Ham. Ay, or any shew that you'll shew him. Be not you ashamed to shew, he'll not shame to tell you what it
Opb. You are naught, you are naught, I'll mark the
Here stooping to your clemency,
Ham. Is this a prologue, or the posie of a ring?
Enter Duke, and Dutchess, Players.
Dutch. So many journeys may the Sun and Moon
Now, what my love is, proof hath made you know;
Duke. Faith, I must leave thee, Love, and shortly too:
Dutch, Oh, confound the rest!
Ham. Wormwood, wormwood !
Dutch. The instances, that second marriage move,
Duke, I do believe, you think what now you speak;
(39) And as my Love is fix’d, my Fear is fo.] Mr. Pope says, I read Jiz'd; and, indeed, I do fo: because, I observe, the Quarto of 1605 reads, ciz'd; that of 1611 cizft; the Folio in 1632, fiz; and that in 1623, fiz'd: and because, belides, the whole Tenour of the Context demands this Reading. For the Lady evidently is talking here of the Quantity and Proportion of her Love and Fear, not of their Continuance, Duration, or Stability. Cleopatra expresses herself much in the same Manner, with regard to her Grief for the Loss of Antony..
our Size of Sorrow, Proportion’d to our Cause, must be as great As that which makes it,