Hamlet · OmniClassics

Transcriber's Note: This is a heavily edited version of _Hamlet_. It was used for Charles Kean's 1859 stage production. Phrases printed in italics in the book are indicated in this electronic version by _ (underscore). Footnotes originally appeared at the bottom of each page. For this electronic version the footnotes are collected at the end of each act. In Act I, Scene 5, the word Uumix'd has been changed to Unmix'd. A closing bracket ] was added to Act IV footnote 37 after _Naked on your kingdom_,. A closing bracket ] was added to Act IV footnote 50 after _Venom'd stuck_,. The word o'er-crows appears in Act V, Scene 3; in footnote V.81, o'ercrows appears without a hyphen. Both are as they appear in the book. SHAKESPEARE'S TRAGEDY OF HAMLET, PRINCE OF DENMARK. ARRANGED FOR REPRESENTATION AT THE Royal Princess's Theatre WITH EXPLANATORY NOTES, BY CHARLES KEAN, F.S.A. AS PERFORMED ON MONDAY, JANUARY 10, 1859. LONDON: BRADBURY AND EVANS, 11, BOUVERIE STREET. 1859. LONDON: BRADBURY AND EVANS, PRINTERS, WHITEFRIARS. Dramatis Personæ CLAUDIUS (_King of Denmark_) Mr. RYDER. HAMLET (_son to the former and_ _nephew to the present King_). Mr. CHARLES KEAN. POLONIUS (_Lord Chamberlain_) Mr. MEADOWS. HORATIO (_friend To Hamlet_) Mr. GRAHAM. LAERTES (_son To Polonius_) Mr. J. F. CATHCART. ROSENCRANTZ } { Mr. BRAZIER. GUILDENSTERN } (_Courtiers_) { Mr. G. EVERETT. OSRICK } { Mr. DAVID FISHER. PRIEST Mr. TERRY. MARCELLUS Mr. PAULO. BERNARDO Mr. DALY. FRANCISCO Mr. COLLETT. GHOST OF HAMLET'S FATHER Mr. WALTER LACY. FIRST GRAVEDIGGER Mr. FRANK MATTHEWS. SECOND GRAVEDIGGER Mr. H. SAKER. FIRST PLAYER Mr. F. COOKE. SECOND PLAYER Mr. ROLLESTON. GERTRUDE (_Queen of Denmark, and_ _mother of Hamlet_) Mrs. CHARLES KEAN. OPHELIA (_daughter of Polonius_) Miss HEATH. ACTRESS Miss DALY. STAGE DIRECTIONS. R. H. means Right Hand; L. H. Left Hand; U. E. Upper Entrance; R. H. C. Enters through the Centre from the Right Hand; L. H. C. Enters through the Centre from the Left Hand. RELATIVE POSITIONS OF THE PERFORMERS WHEN ON THE STAGE. R. means on the Right side of the Stage; L. on the Left side of the Stage; C. Centre of the Stage; R. C. Right Centre of the Stage; L. C. Left Centre of the Stage. The reader is supposed _to be on the Stage_, facing the audience. PREFACE. The play of _Hamlet_ is above all others the most stupendous monument of Shakespeare's genius, standing as a beacon to command the wonder and admiration of the world, and as a memorial to future generations, that the mind of its author was moved by little less than inspiration. _Lear_, with its sublime picture of human misery;--_Othello_, with its harrowing overthrow of a nature great and amiable;--_Macbeth_, with its fearful murder of a monarch, whose "virtues plead like angels trumpet-tongued against the deep damnation of his taking off,"--severally exhibit, in the most pre-eminent degree, all those mighty elements which constitute the perfection of tragic art--the grand, the pitiful, and the terrible. _Hamlet_ is a history of mind--a tragedy of thought. It contains the deepest philosophy, and most profound wisdom; yet speaks the language of the heart, touching the secret spring of every sense and feeling. Here we have no ideal exaltation of character, but life with its blended faults and virtues,--a gentle nature unstrung by passing events, and thus rendered "out of tune and harsh." The original story of Hamlet is to be found in the Latin pages of the Danish historian, Saxo Grammaticus, who died in the year 1208. Towards the end of the sixteenth century, the French author, Francis de Belleforest, introduced the fable into a collection of novels, which were translated into English, and printed in a small quarto black letter volume, under the title of the "Historie of Hamblett," from which source Shakespeare constructed the present tragedy. Saxo has placed his history about 200 years before Christianity, when barbarians, clothed in skins, peopled the shores of the Baltic. The poet, however, has so far modernised the subject as to make Hamlet a Christian, and England tributary to the "sovereign majesty of Denmark." A date can therefore be easily fixed, and the costume of the tenth and eleventh centuries may be selected for the purpose. There are but few authentic records in existence, but these few afford reason to believe that very slight difference existed between the dress of the Dane and that of the Anglo-Saxon of the same period. Since its first representation, upwards of two centuries and a half ago, no play has been acted so frequently, or commanded such universal admiration. It draws within the sphere of its attraction both the scholastic and the unlearned. It finds a response in every breast, however high or however humble. By its colossal aid it exalts the drama of England above that of every nation, past or present. It is, indeed, the most marvellous creation of human intellect. CHARLES KEAN. HAMLET, PRINCE OF DENMARK. ACT I. SCENE I.--ELSINORE. A PLATFORM BEFORE THE CASTLE. NIGHT. FRANCISCO _on his post. Enter to him_ BERNARDO (L.H.) _Ber._ Who's there? _Fran._ (R.) Nay, answer me:[1] stand, and unfold[2] yourself. _Ber._ Long live the king![3] _Fran._ Bernardo? _Ber._ He. _Fran._ You come most carefully upon your hour. _Ber._ 'Tis now struck twelve; get thee to bed, Francisco. _Fran._ For this relief much thanks: [_Crosses to_ L.] 'tis bitter cold, And I am sick at heart. _Ber._ Have you had quiet guard? _Fran._ Not a mouse stirring. _Ber._ Well, good night. If you do meet Horatio and Marcellus, The rivals of my watch,[4] bid them make haste. _Fran._ I think I hear them.--Stand, ho! Who's there? _Hor._ Friends to this ground. _Mar._ And liegemen to the Dane.[5] _Enter_ HORATIO _and_ MARCELLUS (L.H.) _Fran._ Give you good night. _Mar._ O, farewell, honest soldier: Who hath reliev'd you? _Fran._ Bernardo hath my place. Give you good night. [_Exit_ FRANCISCO, L.H.] _Mar._ Holloa! Bernardo! _Ber._ Say, What, is Horatio there? _Hor._ (_Crosses to_ C.) A piece of him.[6] _Ber._ (R.) Welcome, Horatio: welcome, good Marcellus. _Hor._ What, has this thing appear'd again to-night? _Ber._ I have seen nothing. _Mar._ (L.) Horatio says, 'tis 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;[7] That, if again this apparition come, He may approve our eyes,[8] and speak to it. _Hor._ Tush! tush! 'twill not appear. _Ber._ Come, let us once again assail your ears, That are so fortified against our story, What we two nights have seen.[9] _Hor._ Well, let us hear Bernardo speak of this. _Ber._ Last night of all, When yon same star that's westward from the pole Had made his course to illume that part of heaven Where now it burns, Marcellus, and myself, The bell then beating one-- _Mar._ Peace, break thee off; look, where it comes again! _Enter_ Ghost (L.H.) _Ber._ In the same figure, like the king that's dead. _Hor._ Most like:--it harrows me with fear and wonder.[10] _Ber._ It would be spoke to. _Mar._ Speak to it, Horatio. _Hor._ What art thou, that usurp'st this time of night,[11] Together with that fair and warlike form In which the majesty of buried Denmark Did sometimes march? By heaven I charge thee, speak! _Mar._ It is offended. [Ghost _crosses to_ R.] _Ber._ See! it stalks away! _Hor._ Stay!--speak!--speak, I charge thee, speak! [_Exit_ Ghost, R.H.] _Mar._ 'Tis gone, and will not answer. _Ber._ How now, Horatio! You tremble, and look pale: Is not this something more than fantasy? What think you of it? _Hor._ Before heaven, I might not this believe, Without the sensible and true avouch[12] Of mine own eyes. _Mar._ Is it not like the king? _Hor._ As thou art to thyself: Such was the very armour he had on, When he the ambitious Norway combated. _Mar._ Thus, twice before, and jump at this dead hour,[13] With martial stalk hath he gone by our watch. _Hor._ In what particular thought to work,[14] I know not; But in the gross and scope[15] of mine opinion, This bodes some strange eruption to our state.[16] In the most high and palmy[17] state of Rome, A little ere the mightiest Julius fell, The graves stood tenantless, and the sheeted dead Did squeak and gibber in the Roman streets. _Re-enter_ Ghost (R.H.) But, (L.C.) soft, behold! lo, where it comes again! I'll cross it, though it blast me. [HORATIO _crosses in front of the_ Ghost _to_ R. Ghost _crosses to_ L.] Stay, illusion! If thou hast any sound, or use of voice,[18] Speak to me: If there be any good thing to be done, That may to thee do ease, and grace to me, Speak to me: If thou art privy to thy country's fate, Which, happily, foreknowing may avoid, O, speak! O, if thou hast uphoarded in thy life Extorted treasure in the womb of earth,[19] For which, they say, you spirits oft walk in death, Speak of it:--stay, and speak! [_Exit_ Ghost, L.H.] _Mar._ 'Tis gone! We do it wrong, being so majestical, To offer it the show of violence. _Ber._ It was about to speak, when the cock crew. _Hor._ And then it started like a guilty thing Upon a fearful summons.[20] I have heard, The cock, that is the trumpet of the morn, Doth with his lofty[21] and shrill-sounding throat Awake the god of day; and, at his warning, Whether in sea or fire, in earth or air, The extravagant and erring spirit[22] hies To his confine. But, look, the morn, in russet mantle clad, Walks o'er the dew of yon high eastern hill: Break we our watch up; and, by my advice, Let us impart what we have seen to-night Unto young Hamlet; for, upon my life, This spirit, dumb to us, will speak to him. [_Exeunt_, L.H.] SCENE II.--A ROOM OF STATE IN THE PALACE. _Trumpet March._ _Enter the_ KING _and_ QUEEN, _preceded by_ POLONIUS, HAMLET, LAERTES,[23] Lords, Ladies, _and_ Attendants. _King._ (R.C.) Though yet of Hamlet our dear brother's death The memory be green;[24] and that it us befitted To bear our hearts in grief, and our whole kingdom To be contracted in one brow of woe; Yet so far hath discretion fought with nature, That we with wisest sorrow[25] think on him, Together with remembrance of ourselves.