nonstrous caricature of Shakespeare's tragedy. It was a pirat ical publication, and the copy was obtained surreptitiously. All the evidence in regard to it goes to show that it was procured through the bad faith of some minor actor in Shakespeare's theatre, partly from notes taken down during the performance; in some passages from actors' copies of their parts; in others from the feeble memory of some person who could not understand what Shakespeare wrote, and who yet undertook to supply from his own poor brain what he could not recollect; and, when all these sources failed, from the old play, many lines of which were made to do duty for corresponding passages in Shakespeare's drama. These scraps were huddled together in confusion and printed in haste, to meet the public demand for the new Hamlet. The result was such a ridiculous and mutilated misrepresentation of the real thing that (apparently in selfdefence) an authentic copy of the tragedy was furnished to the "stationer" (as booksellers were then called), and in 1604 another edition in quarto was published, which justly professed on its title-page to be "enlarged to almost as much againe as it was, according to the true and perfect coppie." There were other quarto editions before its appearance in the folio of 1623. Internal evidence shows that the editions of 1603, 1604, and 1623 (the only ones of any importance or authority) all represent one and the same drama. The most valuable text is that of 1604; but even the mutilated, distorted, and interpolated edition of 1603 furnishes important aid to the completion of the tragedy as it came from Shakespeare's pen, which after all, it is to be feared, is not quite attainable. The text of the folio shows evidences of incorrect transcription and also of sophistication. It probably represents the acting copy, and hence omits some very important passages not necessary to stage effect. Of these there are, in a few instances, vestiges in the mutilated edition of 1603 which do not appear in that of 1604. Hamlet was probably written about the year 1600. The period of its action is historically very uncertain; but in Shakespeare's imagination it seems to have been somewhere about the tenth century. The duration of the action is as uncertain and indefinite as its period. [See Suggestions for Special Study.] 1 These two important and interesting title-pages are reproduced on the next page, with the typographical arrangement of the originals. THE Tragicall Hiftorie of Prince of Denmarke By William Shake speare. As it hath beene diuerfe times acted by his Highneffe feruants in the Cittie of London: as alfo in the two V. niuersities of Cambridge and Oxford, and elie-where, Stationer's Device. At London printed for N: L. and Iohn Trundell. 1603. THE Tragicall Hiftorie of HAMLET, Prince of Denmarke. By William Shakespeare. Newly imprinted and enlarged to almost as much againe as it was, according to the true and perfect Coppie. Stationer's Device. AT LONDON Printed by I. R. for N. L. and are to be fold at his fhoppe vnder Saint Dunftons Church in Fleetstreet. 1604. HAMLET, PRINCE OF DENMARK. ACT I. SCENE I. Elsinore. A platform before the castle. FRANCISCO at his post. Ber. Who's there? Enter to him BERNARDO. Fran. Nay, answer me: stand, and unfold yourself. Fran. Bernardo? Ber. He. Fran. You come most carefully upon your hour. Fran. For this relief much thanks: 't is bitter cold, And I am sick at heart. Ber. Have you had quiet guard? Fran. Ber. Well, good night. Not a mouse stirring. 1 If you do meet Horatio and Marcellus, The rivals of my watch, bid them make haste. 3. [Long live the king! Pye believes that "this sentence orresponds to the former usage in France, where, to the common challenge Qui vive? the answer was Vive le Roi, like the modern answer 'A friend."" The latter is given, in effect, in 1. 15.] 13. rivals=partners, having the same occupation and purpose. ["Partners " is the word used in the quarto of 1603.] Fran. I think I hear them. Stand, ho! Who's there? Enter HORATIO and MARCELLUS. Hor. Friends to this ground. Fran. Give you good night. Who hath relieved you? Fran. And liegemen to the Dane. Oh, farewell, honest soldier: Bernardo has my place. Ber. Welcome, Horatio: welcome, good Marcel lus. 20 Mar. What, has this thing appear'd again to-night? Ber. I have seen nothing. Mar. Horatio says 't is but our fantasy, And will not let belief take hold of him. Touching this dreaded sight, twice seen of us: With us to watch the minutes of this night; He may approve our eyes and speak to it. Sit down awhile; s Ber. 15. the Dane: emphatical; the chief Dane, the King. 29. approve confirm, prove that our eyes are right. = 32, 33. [The construction here may be either "Let us assail your ears,” i. e., tell you, "what we have two nights seen," line |