I cannot live to hear the news from England; On Fortinbras: he has my dying voice; So tell him, with the occurrents, more and less, 360 [Dies. Hor. Now cracks a noble heart. Good night, sweet prince, And flights of angels sing thee to thy rest! Why does the drum come hither? [March within. Enter Fortinbras, and the English Ambassadors, with Fort. Where is this sight? Hor. What is it you would see? If aught of woe or wonder, cease your search. Fort. This quarry cries on havoc. O proud death, What feast is toward in thine eternal cell, That thou so many princes at a shot So bloodily hast struck? First. Amb. Hor. The sight is dismal; And our affairs from England come too late: 370 The ears are senseless that should give us hearing, That Rosencrantz and Guildenstern are dead: Not from his mouth Had it the ability of life to thank you: He never gave commandment for their death. 380 Fort. And let me speak to the yet unknowing world Of accidental judgements, casual slaughters, Fall'n on the inventors' heads: all this can I 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. Hor. Of that I shall have also cause to speak, Fort. 390 And from his mouth whose voice will draw on more: Even while men's minds are wild; lest more mis chance On plots and errors happen. Let four captains 400 To have proved most royally: and, for his passage, Speak loudly for him. Take up the bodies: such a sight as this Becomes the field, but here shows much amiss. [A dead march. Exeunt, bearing off the bodies: Glossary. Abuse, delusion; IV. vii. 51. Abuses, deceives; II. ii. 629. Acquittance, acquittal; IV. vii. I. 66 Act, operation (Warburton, effect"); I. ii. 205. Adam's profession; V. i. 32. (Cp. the annexed cut.) Addition, title; I. iv. 20. Address, prepare; I. ii. 216. Admiration, wonder, astonishment; I. ii. 192. Adulterate, adulterous; I. v. 42. Eneas' tale to Dido; burlesque lines from an imaginary play written after the grandiloquent manner of quasi-classical plays (e.g. Nash's contributions to Marlowe's Dido, Queen of Carthage); II. ii. 466. Afeard, afraid; V. ii. 302. Affection, affectation (Folios, "affectation "); II. ii. 462. Affront, confront, encounter ; III. i. 31. A-foot, in progress; III. ii. 83. After, according to; II. ii. 552. Against, in anticipation of; III. iv. 50. Aim, guess; IV. v. 9. Allowance, permission (according to some, "regards of a." allowable conditions); II. ii. 79. Answer, reply to a challenge; V. ii. 169. Answer'd, explained; IV. i. 16. Antic, disguised, fantastic; I. v. 172. Antique, ancient; V. ii. 344. Apart, aside, away; IV. i. 24. Ape; "the famous ape," etc., a reference to an old fable which has not yet been identified; III. iv. 193-196. Apoplex'd, affected with apoplexy; III. iv. 73. Appointment, equipment; IV. vi. 16. Apprehension, conception, perception; II. ii. 319. make a.," throng to the rescue; III. iii. 69. Assays of bias, indirect aims (such as one takes in the game of bowls, taking into account the bias side of the bowl); II. i. 65. Assigns, appendages; V. ii. 150. Assistant, helpful; I. iii. 3. From Whitney's Emblems, 1586. Bedded, lying flat, (?) matted; III. iv. 121. Bed-rid, bed-ridden (Quartos 2-5, "bed-red"); I. ii. 29. Beetles, projects, juts over; I. iv. 71. Behove, behoof, profit; V. i. 67. Bent, straining, tension (properly an expression of archery); II. ii. 30. "to the top of my b.," to the utmost; III. ii. 393. Beshrew, a mild oath; II. i. 113. Besmirch, soil, sully; I. iii. 15. Bespeak, address, speak to; II. ii. 140. Best; "in all my b.," to the utmost of my power; I. ii. I20. Bestowed, placed, lodged; II. ii. 544. Beteem, allow, permit; I. ii. 141. Bethought, thought of; I. iii. 90. |