ith observation, confident in his knowledge, proud of his oquence, and declining into dotage. His mode of oratory is uly represented as designed to ridicule the practice of those mes, of prefaces that made no introduction, and of method at embarrassed rather than explained. This part of his chacter is accidental, the rest is natural. Such a man is positive

nd confident, because he knows that his mind was once strong, d knows not that it is become weak. Such a man excels in eneral principles, but fails in the particular application. He knowing in retrospect, and ignorant in foresight. While he pends upon his memory, and can draw from his repositories knowledge, he utters weighty sentences, and gives useful unsel; but as the mind in its enfeebled state cannot be kept ng busy and intent, the old man is subject to sudden derelicon of his faculties, he loses the order of his ideas, and enngles himself in his own thoughts, till he recovers the leading -inciple, and falls again into his former train. This idea of stage encroaching upon wisdom, will solve all the phenomena the character of Polonius.'-DR. JOHNSON.

"Of the petty anachronisms which send Hamlet to Wittemerg, which allow Ophelia to call for a coach, and the King's lace to resound with salvos of artillery, we make small acunt. . . . The great length appears by no means an imperfecon of this drama as a composition, whatever it may be as an ting play. The analysis of the motives of human action, hich is the great object of this work, could not have been ected if the action were rapid. Rapidity of action is incontent with philosophic self-analysing motives and modes of ought; while the slow and halting progress of the action, in is drama, not only affords to the character space and verge ough to unfold its inmost peculiarities of thought and feeling, t developes in the mind of the reader a state of metaphysical ceptivity scarcely less essential to its full appreciation.'-DR. JCKNILL'S Psychology of Shakspeare.

2

HAMLET

PRINCE OF DENMARK.

B

ords, Ladies, Officers, Soldiers, Players, Grave-diggers, Sailors, Messengers, and

other Attendants.

SCENE-ELSINORE,

HAMLET

PRINCE OF DENMARK.

ACT I.

SCENE I.-Elsinore. A Platform before the Castle.

FRANCISCO on his post. Enter to him BERNARDO.

Fran. You come most carefully upon your hour.

Ber. 'T is now struck twelve; get thee to bed, Francisco
Fran. For this relief, much thanks: 't is bitter cold,

And I am sick at heart.

Ber. Have you had quiet guard?

Fran.

Not a mouse stirring.

1 Who's there?] These words are significant of some agitation i the speaker.

2 Long live the king!] The watchword.

Ber. Well, good night.

If you do meet Horatio and Marcellus,

The rivals' of my watch, bid them make haste.
Fran. I think I hear them.-Stand, ho! who's there?

Ber. Welcome, Horatio; welcome, good Marcellus.
Mar. What, has this thing appeared 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:

Therefore I have entreated him along,

With us to watch the minutes of this night;

That, if again this apparition come,

He may approve our eyes, and speak to it.5
Hor. Tush! tush! 't will not appear.

Rivals.] Partners, companions.

2 Give you.] An abridgment of God give you.

30, farewell.] Marcellus uses the interjection, as not having known that Francisco had been relieved.

↑ A piece of him.] This is merely a jocular expression, indicating Horatio's freedom from all apprehension about the ghost.

5 Approve our eyes, &c.] Assure himself of what we have seen, and speak to it, as only a scholar can do. (See Note 2, p. 5.)