would make a long tale. The scenes are interchangeably diversified with merriment and solemnity: with merriment that includes judicious and instructive observations; and solemnity not strained by poetical violence above the natural sentiments of man. This play is printed in the old editions without any separations of the acts. The division is modern and arbitrary; and is here not very happy:" (Act iv.) "The original story (says Steevens) on which this story is built, may be found in Sara Grammaticus, the Danish historian. From theace Belleforest adopted it in his collection of novels, in seven volumes, which he began in 1561. From this work, The Historie of HamWett, quarto, bl. 1, was translated." To the latter both he and Malone thought Shakspeare was indebted; he owed something also, according to the latter, to " A play on the subject of Hamlet, which had been exhibited on the stage before the year 1589, of which Thomas Kyd was, I believe, the author." Dr. Gabriel Harvey (the antagonist of Nash) set down Hamlet, as a performance with which he was well acquainted, in the year 1598. He says, "The younger sort take much delight in Shakspeare's Venus and Adonis; but his Lucrece, and his Tragedy of Hamlet Prince of Denmark, have in them to please the wiser sort, 1598." The frequent allusions (observes Steevens) of contemporary authors to this play sufficiently shows its popularity." In an old collection of satirical poems, called The Night-Raven, is this couplet: "I will not cry Hamlet, Revenge my greeves, But I will call Hangman, Revenge on thieves." Dr. Farmer, in his essay on the Learning of Shakspeare, says, "Green, in the Epistle prefixed to his Arcadia, hath a host of some vaine glorious tragedians,' and very plainly of Shakspeare in particular:-leave all these to the nierey of their mother-tongue, that feed on naught but the crumbs that fall from the translator's trencher. That could scarcely latanize their neck verse if they should have neede- - yet English Seneca, read by candle light, yields many good sentences; he will afford you whole Hamlets, I should say, handfuls of tragical speeches." In the books of the Stationers' Company, this play was entered by James Roberts, July 26, 1602, under the title of "A booke called The Revenge of Hamlet, Prince of Denmark, as it was lately acted by the Lord Chamberlain his servantes." "Shakspeare's Hamlet (says Malone) was written, if my conjecture be well founded, in 1596." THE PLOT. murder, by the king, his uncle, and calls upon Hamlet to revenge it. In order to accomplish this purpose, Hamlet feigns madness, especially in his conduct towards Ophelia, danghter of Polonius, with whom he is enamoured. Hamlet engages some players, who enact a scene in the presence of the King and Queen, which displays the murder of his father, purposely to try the King. Claudius, on beholding this, stung by his conscious guilt, and fearful of some untoward event, determines to rid himself of his nephew by sending him to England. This project is aided by Hamlet killing Polonius, whom he mistakes for the King, and who was concealed behind the arras to listen to the conversation between the Queen and her son, who had demanded an interview. Hamlet is by an accident made prisoner by some pirates as he is on his way to England, but he escapes, and unexpectedly returns to Denmark. Previously, he discovers that the Ambassadors are instructed by the King's letters, to cause him to be put to death on his arrival in England, which letters he exchanges for others containing the same directions for their deaths. During his absence, Ophelia, distracted through her father's death, and her own misfortunes, destroys herself; and her brother, Laertes, urged by false rumours concerning his father's death, rebels against the King, but he abandons his intention on being told that Hamlet did the deed. A stratagem is got up by the King, in which Laertes basely consents to dispatch Hamlet by secret means. Claudius wagers six Barbary horses against six French swords with Laertes, that in a dozen passes he does not exceed Hamlet three, Hamlet consents to make trial, and is first wounded by Laertes, who has treacherously used a poisoned weapon. In a scuffle they change swords, and Laertes is himself wounded by the same deadly weapon. The King had prepared a poisoned chalice, with which he determined to end Hamlet, if Laertes failed. In the contents of this the Queen, unconscious it is drugged, pledges Hamlet, and is poisoned. Laertes, in the agonies of death, confesses his own perfidy, and accuses the King; and Hamlet with the sword of Laertes, revenges himself by stabbing the infamous Claudius: and the whole concludes with the news of the death of Rosencrantz and Guilderstern, through the letters forged by Hamlet, and an eulogium on the unfortunate Prince by his friend Horatio, and the choice of young Fortinbras for King of Denmark. MORAL. In this play we see exemplified the proverThe scene opens in Elsinore, where a Ghost bial saying, "Murder will out" for by introis seen by the sentinels keeping guard before ducing the Ghost of the murdered King, Shakthe castle, which circumstance is related to speare intended no doubt to intimate, that Hamlet by his friend Horatio, who describes though secrecy may veil the deed of the murthe spirit as much resembling the late King derer for a time. Providence, that "suffers not of Denmark, his deceased father, whom his a sparrow to fall to the ground unnoticed," will uncle Claudius is suspected to have murdered, by supernatural agency both expose and punin order that he might usurp his throne, which ish the aggressor. In the death of the Queen, he had done, and also married his queen, the we are warned against participating in the mother of Hamlet, within a month after. Ham- fancied success of villany; and in that of Laerlet, moved by the relation of Horatio, deter- tes, against suffering our passions perfidiously mines to watch for the next appearance of the to lead us to seek a secret revenge, without a Ghost, which is seen again at midnight, disco-regard either to justice or our own honour. He vers itself to him as his murdered parent, and has our contempt, but might have commanded relates to him the circumstances of his cruel our pity and admiration. Othello, the Moor of Venice. "The beauties of this play," says Dr. Johnson, "impress themselves so strongly upon the attention of the reader, that they can draw no aid from critical illustration. The fiery openness of Othello, magnanimous, artless, and credulous, boundless in confidence, ardent in his affection, inflexible in his resolution, and obdurate in his revenge; the cool malignity of Iago, silent in his resentment, subtle in his designs, and studious at once of his interest and his vengeance; the soft simplicity of Desdemona, confident of merit, and conscious of innocence, her artless perseverance in her suit, and her slowness to suspect that she can be suspected, are such proofs of Shakspeare's skill in human nature, as, I suppose, it is vain to seek in any modern writer." Pope asserts, that the story is taken from Cynthio's novels. "I have," writes Dr. Farmer, "seen a French translation of Cynthio, by Gabriel Chapoys, Par. 1584. This is not a faithful one; and I suspect, through this medium, the work came into English." Steevens observes, "It is highly probable that our author met with the name of Othello in some tale that has escaped our researches; as I likewise find it in Reynolds's God's Revenge against Adultery. Here also occurs the name of Iago." It is likewise found, as Dr. Farmer observes, in "The History of the famous Euordanus, Prince of Denmark, with the strange Adventures of LAGO, Prince of Saxonie; vol. i. 4to. London, 1605." According to Reed, Selymus the Second formed his design against Cyprus in 1569, and took it in 1571. We learn from the play that there was a junction of the Turkish fleet at Rhodes, in order for the invasion of Cyprus; and as they never attacked it but once during the time the Venetians possessed it, this gives us the exact time of the play. (See Knolles's Hist. of the Turks, p. 838, &c.) "This play," adds Steevens," was entered at Stationers' Hall, October 6, 1621, by Thomas Walkely;" and Malone ascribes the production, "but on no very sure ground," to A.D. 1611. THE PLOT. The scene opens in Venice, between Iago, the ancient of Othello, and Roderigo. The former, it appears, has conceived a mortal hatred against his commander, Othello, first for appointing Cassio his lieutenant instead of himself, and, as he afterwards tells us, for having, as he suspected, dishonoured his wife, Emilia. Othello had privily married Desdemona, the daughter of Brabantio, a senator, who, on being acquainted with the circumstance by Iago and Roderigo, is highly incensed with the Moor, and cites him before the Council, where Othello vindicates himself, and his assertions are verified by his wife, Desdemona. The proceedings are, however, suddenly stopped, in consequence of news reaching Venice, that the Turks are making a descent upon Cyprus, against whom Othello is dispatched, and is shortly followed by Desdemona. On their arrival, however, it is ascertained, that the Turkish fleet has been wrecked during a severe storm, and Othello alone finds an enemy where he least expected one. Iago, to satiate his revenge, had formed some deep plots against the peace of his General. Roderigo, who had followed Othello to Cyprus in hopes of enjoying Desdemona, is prevailed upon by Iago to pick a quarrel with Cassio when heated with wine, which succeeds, and causes him to be cashiered from his office of Lieutenant, who prevails upon Desdemona to sue Othello for his re-appointment. From this circumstance, the treacherous lago poisons the mind of Othello with suspicions of his wife's fidelity, in which he succeeds too well. Wrought up to the highest pitch of jealousy, Othello, at the suggestion of lago, consents to have Cassio assassinated, and determines to murder his innocent and unsuspecting wife with his own hands. Iago persuades Roderigo to attempt the life of Cassio, but being himself overcome and slightly wounded by Cassio in the rencontre, lest he should confess who employed him, he is instantly dispatched by the monster, lago. Othello, in the meantime, smothers Desdemona in her bed; but being soon after awakened to a sense of his rash act, by Emilia explaining the treachery of Iago, frantic with despair, having first wounded the villain who had deceived him, he kills himself, and falls by the side of his injured wife. Commissioners have just arrived with authority to appoint Cassio governor in his stead, who announce the death of Brabantio with grief, for the loss of his daughters: and the task of punishing the villanous Iago falls on Cassio. MORAL. In the catastrophe of this play, we are warned not to suffer our passions to be hastily called forth, by the base insinuations of the designing: but to be satisfied with and act upon facts alone; lest, driven to desperation against our better judgment, we, like Othello, discover our error when it is too late to repair the evil we have rashly committed, and become ourselves the last victim. CALIBAN, a savage and deformed Slave. TRINCULO, a Jester. STEPHANO, a drunken Butler. Master of a Ship, Boatswain, and Mariners. IRIS, CERES, JUNO, Nymphs, Reapers, Spirits. Other Spirits attending on Prospero. SCENE.-The Sea, with a Ship; afterwards an uninhabited Island Art First. SCENE I-On a Ship at Sea. Boats. Here, master: what cheer? Mast. Good: speak to the mariners: fall to't yarely, or we run ourselves aground; bestir, bestir. [Exit. Enter Mariners. Boats. Heigh, my hearts; cheerly, cheerly, my hearts; yare, yare: take in the top-sail; Tend to the master's whistle.-Blow till thou burst thy wind, if room enough! Enter ALONZO, SEBASTIAN, ANTONIO, FERDI- Ant. Where is the master, Boatswain? Boats. When the sea is. Hence! What care these roarers for the name of king? To cabin: silence: trouble us not. Gon. Good; yet remember whom thou hast aboard. Boats. None that I more love than myself. You are a counsellor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more; use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it I say. so hap.-Cheerly, good hearts.-Out of our way, [Exit. Gon. I have great comfort from this fellow methinks he has no drowning mark upon him; good fate, to his hanging! make the rope of his his complexion is perfect gallows. Stand fast, destiny our cable, for our own doth little advantage! If he be not born to be hanged, our [Exeunt. case is miserable. Re-enter Boatswain. Boats. Down with the topmast; yare; lower, lower; bring her to try with main-course. [A cry within.] A plague upon this howling! they are louder than the weather, on our office. Re-enter SEBASTIAN, ANTONIO, and GONZALO. Yet again? what do you here? Shall we give o'er, and drown? Have you a mind to sink? phemous, uncharitable dog! Boats. Work you, then. Ant. Hang, cur, hang! you whoreson, insolent I have with such provision in mine art noise-maker, we are less afraid to be drowned So safely order'd, that there is no soulthan thou art. No, not so much perdition as an hair, Betid to any creature in the vessel Which thou heard'st cry, which thou saw'st sink. Sit down; Gon. I'll warrant him from drowning; though the ship were no stronger than a nut-shell, and as leaky as an unstanched wench. Boats. Lay her a-hold, a-hold: set her two courses off; to sea again, lay her off. Enter Mariners wet. Mar. All lost! to prayers, to prayers! all lost! Exeunt. For thou must now know further. Pro. For our case is as theirs. [drunkards. Seb. I am out of patience. Ant. We are merely cheated of our lives by This wide-chapped rascal;-'Would, thou might'st lie drowning, The washing of ten tides! Ant. Let's all sink with the king. Exit. [Exit. Gon. Now would I give a thousand furlongs of sea for an acre of barren ground; long heath, brown furze, any thing: The wills above be done! but I would fain die a dry death. [Exit. SCENE II. The Island, before the Cell of Prospero. Enter PROSPERO and MIRANDA. Mira. If by your art, my dearest father, you have Put the wild waters in this roar, allay them; The sky, it seems, would pour down stinking pitch. But that the sea, mounting to the welkin's cheek, Had I been any god of power, I would Pro. Be collected; No more amazement: tell your piteous heart, There's no harm done. O, woe the day. Mira. Pro. No harm. I have done nothing but in care of thee, (Of thee, my dear one! thee, my daughter!) who Art ignorant of what thou art, nought knowing Of whence I am; nor that I am more better Than Prospero, master of a full poor cell, And thy no greater father. Mira. More to know Did never meddle with my thoughts. Pro. 'Tis time, I should inform thee further. Lend thy hand, And pluck my magick garment from me.-So; [Lays down his mantle. Lie there my art.-Wipe thou thine eyes; have comfort. The direful spectacle of the wreck, which touch'd The very virtue of compassion in thee, A time before we came unto this cell? Mira 'Tis far off; And rather like a dream than an assurance That my remembrance warrants: Had I not Four or five women once, that tended me? Pro. Thou had'st, and more, Miranda: But how is it, [else That this lives in thy mind? What seest thou In the dark backward and abysm of time? How thou cam'st here, thou may'st. If thou remember'st aught, ere thou cam'st here, Mira. But that I do not. Pro. Twelve years since, Miranda, twelve years since, Thy father was the duke of Milan, and Mira. Sir, are not you my father? Pro. Thy mother was a piece of virtue, and She said-thou wast my daughter; and thy Was duke of Milan; and his only heir [father A princess;-no worse issued. Mira. O, the Heavens What foul play had we, that we came from thence? Or blessed was't, we did? Both, both. my girl: By foul play, as thou say'st, were we heaved thence; But blessedly holp hither. Mira. O, my heart bleeds To think o' the teen that I have turn'd you to, Which is from my remembrance! Please you further. [nio Pro. My brother, and thy uncle, call'd AntoI pray thee, mark me,-that a brother should Be so perfidious!--he whom, next thyself, Of all the world I loved, and to him put The manage of my state; as, at that time, Through all the signiories it was the first, And Prospero the prime duke; being so reputed In dignity, and, for the liberal arts, Without a parallel; those being all my study, The government I cast upon my brother, And to my state grew stranger, being transported, And rapt in secret studies. Thy false uncleDost thou attend me? To what tune pleased his ear; that now he was The ivy, which had hid my princely trunk, And suck'd my verdure out on't.-Thou attend'st not. Mira. O, good sir, I do. Pro. I pray thee, mark me. I thus neglecting worldly ends, all dedicate To closeness, and the bettering of my mind With that, which, but by being so retir'd, O'er-prized all popular rate, in my false brother Awak'd an evil nature: and my trust, Like a good parent, did beget of him A falsehood, in its contrary as great As my trust was; which had, indeed, no limit, A confidence sans bound. He being thus lorded, Not only with what my revenue yielded, But what my power might else exact,-like one, Who having, unto truth, by tellng of it, Made such a sinner of his memory, To credit his own lie,-he did believe He was indeed the duke; out of the substitution, And executing the outward face of royalty, With all prerogative:-Hence his ambition Growing,-Dost hear? Mira. Your tale, sir, would cure deafness. Pro. To have no screen between this part he play'd And him he play'd it for, he needs will be He thinks me now incapable: confederates Mira. Mira. Pro. Mira. Alack, for pity! Pro. Wherefore did they not Well demanded, wench; (My tale provokes that question. Dear, they durst not: So dear the love my people bore me) nor set 'Would, I might But ever see that man! Mira. Heavens thank you for't! and now, I pray you, sir, (For still tis beating in my mind,) your reason Thou art inclin'd to sleep; 'tis a good dulness, Enter ARIEL Ari. All hail, great master! grave sir, hail; To answer thy best pleasure; be 't to fly, On the curl'd clouds; to thy strong bidding, task I boarded the king's ship; now on the beak, Then meet, and join: Jove's lightnings, the precursors O' the dreadful thunder-claps, more momentary And sight out-running were not: The fire, and cracks |