for as that wicked man there hath, to sit upon a much higher chair than he sits upon. No wonder he ran away; for your sake I'll never trust an innocent face again.'

The grave-digging scene* next engaged the attention of Partridge, who expressed much surprise at the number of skulls thrown upon the stage. To which Jones answered: That it was one of the most famous burial-places about town.' 'No wonder, then,' cries Partridge, that the place is haunted. But I never saw in my life a worse grave-digger. I had a sexton when I was a clerk that should have dug three graves while he is digging one. The fellow handles a spade as if it was the first time he had ever had one in his hands. Ay, ay, you may sing. You had rather sing than work, I believe.' Upon Hamlet's taking up the skull he cried out, 'Well, it is strange to see how fearless some men are; I never could bring myself to touch anything belonging to a dead man on any account. He seemed frightened enough, too, at the Ghost, I thought. Nemo omnibus horis sapit.'

Little more worth remembering occurred during the play; at the end of which Jones asked him which of the players he liked best. To this he answered, with some appearance of indignation at the question: The King, without doubt.' 'Indeed, Mr Partridge,' says Mrs Miller, you are not of the same opinion with the Town; for they are all agreed that Hamlet is acted by the best player who was ever on the stage.' He the best player!' cries Partridge, with a contemptuous sneer; 'why, I could act as well as he myself. I am sure if I had seen a ghost, I should have looked in the very same manner and done just as he did. And then, to be sure, in that scene, as you called it, between him and his mother, where you told me he acted so fine, why, Lord help me, any man, that is, any good man, that had such a mother would have done exactly the same. I know you are only joking with me; but, indeed, madam, though I was never at a play in London, yet I have seen acting before in the country; and the King for my money: he speaks all his words distinctly, half as loud again as the other. Anybody may see he is an actor.'

FRANCIS GENTLEMAN (Dramatic Censor, 1770, vol. i, p. 33.)-Where Hamlet says to his interposing friends: I say, away,'-then turning to the Ghost, 'Go on, I'll follow,' Garrick's variation from extreme passion to reverential awe is so forcibly expressed in eyes, features, attitude, and voice, that every heart must feel. Where the Queen says the Ghost is but the coinage of your brain,' his turning short from looking after the apparition with wildness of terror, and viewing his mother with pathetic concern, is most happily executed.

BETTERTON. GARRICK.

THOMAS DAVIES (Dramatic Miscellanies, vol. iii, p. 35.)—I have lately been told by a gentleman, who has frequently seen Betterton perform Hamlet, that he observed his countenance, which was naturally ruddy and sanguine, in the scene of the Third Act where his father's ghost appears, through the violent and sudden emotion of amazement and horror, turn instantly, on the sight of his father's spirit, as pale as his neckcloth; when his whole body seemed to be affected with a tremor inexpres

*This is noteworthy as showing that Garrick does not always merit the reproach, which is constantly cast upon him, of excluding this scene in representation. ED.

sible, so that, had his father's ghost actually risen before him, he could not have been seized with more real agonies. And this was felt so strongly by the audience that the blood seemed to shudder in their veins likewise; and they in some measure partook of the astonishment and horror with which they saw this excellent actor affected. [See Vol. I, I, iv, 39, for an additional account of Betterton's acting. ED.]

[Page 55.] For some must laugh [sic], while some must weep [sic], Thus runs the world away.'-III, ii, 261. In the uttering of this line and a half it was Garrick's constant practice to pull out a white handkerchief, and walking about the stage to twirl it round with vehemence. This action can incur no just censure, except from its constant repetition. He, of all the players I ever saw, gave the greatest variety to action and deportment; nor could I help wondering that so great an artist should in this instance tie himself down to one particular mode, when his situation would admit of so many.

[Page 65.] At the appearance of the Ghost [in the closet scene with his mother], Hamlet immediately rises from his seat affrighted; at the same time he contrives to kick down his chair, which, by making a sudden noise, it was imagined would contribute to the perturbation and terror of the incident.

KEMBLE. GARRICK. HENDERSON.

BOADEN (Life of John Philip Kemble, London, 1825, vol. i, p. 94*): KEMBLE was instructed to say: 'Tis an un-weeded garden, that grows to seed.' But Kemble thought, and justly, that unweeded' was quite as intelligible with the usual and proper accent as the improper one; and besides, that the exquisite modulation of the poet's verse should not be jolted out of its music for the sake of giving a more pointed explanation of a word already sufficiently understood. 'Sir, my good FRIEND! I'll change that name with you.' Horatio's saying to Hamlet that he was his poor servant ever.

Thus Kemble, upon Dr Johnson conceives

it to mean, I'll be your servant, you shall be my friend.' In which case the emphasis would rest thus: Sir, my good FRIEND! I'll change that name with you.' Perhaps, it may be rather, Change the term servant into that of friend. Consider us, without regard to rank, as friends.' Henderson evidently so understood it, for he said, 'I'll change that name with you.'

It was, I think, a novelty when, after having recognized Horatio and Marcellus by name, Kemble turned courteously towards Bernardo, and applied the Good even, sir,' to him. The commentators were too busy in debating whether it should be evening or morning, to bestow a thought as to the direction of this gentle salutation.

It was observed how keenly Kemble inserted an insinuation of the King's intemperance, when he said to Horatio and the rest: We'll teach you to DRINK deep,ere you depart.'

He restored, with the modern editors of Shakespeare, 'Dearest foe,' and 'Beteeme

* These extracts from Boaden's Life of Kemble were kindly made for this edition by my friend, Mr J. PARKER NORRIS, who in his search for stray interpretations of Hamlet has examined the following volumes: Campbell's Life of Mrs Siddons; Boaden's Life of Mrs Siddons; the Life of Garrick by Murphy; by Davies; by Fitzgerald; Macready's Reminiscences; and Hawkins's Life of Kean. ED.

the winds of heaven,' and he was greatly censured for doing so, because, as the first term is unknown to the moderns in the sense of most important, or, as Johnson thought, direst, and the word beteeme not known at all, the critic said, it might show reading so to speak them, but did not show clear meaning; a thing of more moment to a popular assembly. This is a question, I am sensible, on which a great deal may be said; but let it be observed that it involves the integrity of a poet's

text.

My father, methinks I see my father.' Professor Richardson terms this 'the most solemn and striking apostrophe that ever poet invented.' Kemble seemed so to consider it :—the image entirely possessed his imagination; and accordingly, after attempting to pronounce his panegyric, He was a man, take him for all in all,' a flood of tenderness came over him, and it was with tears he uttered: 'I shall not look upon his like again.' I know the almost stoical firmness with which others declaim this passage; and the political opposition affected, between the terms KING and MAN; but I must be excused, if I prefer the melting softness of Kemble, as more germane to the weakness and the melancholy' of Hamlet.

Did you not speak to it?' (To Horatio.) Not only personally put to Horatio, for this must certainly be done, with emphasis or without, (as the others had said they did not speak to the spectre, and had invited Horatio, that he might do so) but emphatically and tenderly, as inferring from the peculiar intimacy between them, that he surely had ventured to enquire the cause of so awful a visitation. Mr Steevens, from a pique which Kemble explained to me, thought fit to annoy him upon this innovation, and, without naming the object of his sarcasm, has left it in the margin of his Shakespeare. [See Vol. I: I, ii, 214.] . . . . Kemble, however, told me that he had submitted this to Dr Johnson in one of those calls upon him which Boswell has mentioned, and that the doctor said to him: To be sure, sir,-You should be strongly marked. I told Garrick so, long since, but Davy never could see it.'

And for my soul, what CAN it do to that, Being a thing immortal as itself?' Garrick here, with great quickness, said: 'What can it do to THAT?' There is, I think, more impression in Kemble's manner of putting it. In Garrick it was a truism asserted; in Kemble not merely asserted, but enjoyed.

Having drawn his sword, to menace the friends who prevented him from following the Ghost, every Hamlet before Kemble presented the point to the phantom as he followed to the removed ground. Kemble, having drawn it on his friends, retained it in his right hand, but turned his left towards the spirit, and drooped the weapon after him,-a change both tasteful and judicious. As a defence against such a being it was ridiculous to present the point. To retain it unconsciously showed how completely he was absorbed by the dreadful mystery he was exploring.

The kneeling at the descent of the Ghost was censured as a trick. I suppose merely because it had not been done before: but it suitably marked the filial reverence of Hamlet, and the solemnity of the engagement he had contracted. Henderson saw it, and adopted it immediately, I remember he was applauded for doing so.

These two great actors agreed in the seeming intention of particular disclosure to Horatio: Yes, but there is, Horatio,-and much offence, too,' turned off upon the pressing forward of Marcellus to partake the communication. Kemble only, however, prepared the way for this by the marked address to Horatio: Did you not speak to it?'

In the scene with Polonius, where Hamlet is asked what is the matter which he reads, and he answers, Slanders, sir,' Kemble, to give the stronger impression of

his wildness, tore the leaf out of the book. Even this was remarked, for he was of consequence enough, at first, to have everything he did minutely examined.

A critic observed that, in the scene with Rosencrantz and Guildenstern, he was not only familiar, but gay and smiling; and that he should be quite the reverse, because he tells them that he has lost all his mirth,' &c. This was pure mis-apprehension of the critic. The scene itself ever so slightly read would have set him right. Hamlet, from playing on Polonius, turns to receive gaily and with smiles his excellent friends, his good lads, who are neither the button on Fortune's cap, nor the soles of her shoe. And it is only when the conception crosses him that they were sent to sound him, that he changes his manner, puts his questions eagerly and importunately, and, having an eye upon them, gives that account of his disposition, which rendered it but a sleeveless errand which they came upon.

[Page 100.] The mobled queen.' Garrick repeated this after the Player, as in doubt; Kemble, as in sympathy. And accordingly Polonius echoes his approbation; and says, that the expression is good: 'Mobled queen is good.'

Perchance to dream! Kemble pronounced the word 'dream' meditatingly. Just after, to Ophelia, he spoke the word lisp with one-lithp. A refinement below him.

Henderson and he concurred, in saying to Horatio: Ay, in my heart of heart, as I do thee.' Garrick gave it differently: heart of heart.' But I think would have attained his purpose better by changing his emphasis to heart of heart,' as I remember somewhere, I think in Thomson: And all the life of life is gone;' that is, I cherish thee in the divinest particle of the heart, which is to that organ itself what the heart is to the body.

[Page 102.] Kemble gave the argument of the [court-play] in the finest manner possible: They do but jest: POISON in jest,' in tone and observation at the time, beyond all praise.

The reference to Rosencrantz, after Guildenstern, with the pipe, I do beseech YOU,' is an innovation. It involves both persons in the disgrace; but, if allowed at all, it can only be permitted as a felicity of action in the performance. At all events, the stately march from Guildenstern to Rosencrantz always seemed to me a poor thing, and indeed chilling what was to follow: too formal, in a word, for the condition of Hamlet's mind.

....

In the chamber of the queen, 'Is it the king?' was addressed to the million. Hamlet's nature is so little vindictive! In this scene it was doubted whether, in 'speaking daggers' to the Queen, they were drawn and sharp enough. Kemble knelt in the fine adjuration to his mother. . . . . [Kemble thus read the following lines:] And when you are desirous to be blest, I'll blessing beg of you.' Henderson read them differently: And when you are desirous to be blest, I'll blessing beg of you.' In the grave-yard scene [Kemble] never entirely satisfied himself; he was too studiously graceful; and, under his difficulties, seemingly too much at his ease. The exclamation [What! the fair Ophelia!'] had not the pathos of Henderson's; who seemed here struck to the very soul. The tone yet vibrates in my ear with which he uttered it.

[For an admirable description of some points in GARRICK'S acting, see LICHTENBERG, in German Criticisms in this Volume. ED.]

KEAN. HACKETT. YOUNG. MACREADY.

J. H. HACKETT (Notes, Criticisms, &c., New York, 1863, p. 49.)—Edmund Kean, as Hamlet, after concluding his words to Ophelia, 'To a nunnery, go!' and departing abruptly out of sight of his audience, used to come on the stage again, and approach slowly the amazed Ophelia still remaining in the centre; take her hand gently, and, after gazing steadily and earnestly in her face for a few seconds, and with a marked expression of tenderness on his own countenance, appeared to be choked in his efforts to say something, smothered her hand with passionate kisses, and rushed wildly and finally from her presence. [EDWIN BOOTH does the same thing. J. C.] [See III, i, 149. ED.]

[Page 79.] In my youth I had read the work called Wilhelm Meister's Appren ticeship, and been struck with and remembered Goethe's idea of causing, in representation, Hamlet's description and comparison of his father's and his uncle's respective persons to be painted as full-length portraits, and suspended in the Queen's closet. With the aid of Mr Thomas Barry (a most capital stage-director, as well as good and sound actor), I determined to try such an effect. Mr Barry, who acted the Ghost, consented to change the costume (armour) worn when it was seen upon the platform, and which, as it would seem, was designed to suggest surprise, and increase Hamlet's wonder (My father's spirit-in arms! all is not well!'), and to adopt one similar to that worn by My father in his habit as he lived,' and painted for the portrait. The canvas was so constructed, by Mr Barry's direction, and split, but backed with a spring made from whalebone, which rendered its practicability unperceived by the audience, that it enabled him at the proper juncture, as the Ghost behind, to step apparently out of it upon the stage; the rent through which the figure had passed was closed up again, and the canvas, with a light behind it, then looked blank and illuminated; but the instant after the departure of the spirit from sight of the audience, the light was removed, and the painting appeared as before. The whole effect proved wonderful and surprising, and was vehemently applauded.

[Page 133. Speaking of CHARLES MAYNE YOUNG, Mr Hackett says:] His conception of the character of Hamlet seemed pretty just in the main, though I am bound to take particular exception to Mr Young's marked hauteur in receiving the Players, and to his dictatorial bearing while conversing with them; his utterance especially of, Com'st thou to beard me in Denmark?' was characterized by a tone of rebuke instead of that of a jocose and condescending familiarity, such as Hamlet would be likely to use in welcoming the tragedians of the city, in whom he was 'wont to take such delight, and who had come expressly to offer him their service.' [Page 144.] Hackett takes exceptions to MACREADY'S rendering of the Prince's question, Arm'd, say you?' He thinks Macready hurried through the dialogue too rapidly, making no pause before Arm'd, say you?' so that the audience might be misled into supposing that Hamlet meant to inquire connectedly whether those who should hold the watch would be armed: whereas, if after addressing the two soldiers then on his right hand with, Hold you the watch to-night?" he had made a short pause, and with the fixed eye of abstract and profound consideration turned his face

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* These extracts from Hackett's volume were kindly selected for this edition by my friend, Mi JOSEPH CROSBY. ED.