Chapter: ACT III. Scene I.
Elsinore. A room in the Castle.

Enter King, Queen, Polonius, Ophelia, Rosencrantz, Guildenstern,
and Lords.

  King. And can you by no drift of circumstance
    Get from him why he puts on this confusion,
    Grating so harshly all his days of quiet
    With turbulent and dangerous lunacy?
  Ros. He does confess he feels himself distracted,
    But from what cause he will by no means speak.
  Guil. Nor do we find him forward to be sounded,
    But with a crafty madness keeps aloof
    When we would bring him on to some confession
    Of his true state.
  Queen. Did he receive you well?
  Ros. Most like a gentleman.
  Guil. But with much forcing of his disposition.
  Ros. Niggard of question, but of our demands
    Most free in his reply.
  Queen. Did you assay him
    To any pastime?
  Ros. Madam, it so fell out that certain players
    We o'erraught on the way. Of these we told him,
    And there did seem in him a kind of joy
    To hear of it. They are here about the court,
    And, as I think, they have already order
    This night to play before him.
  Pol. 'Tis most true;
    And he beseech'd me to entreat your Majesties
    To hear and see the matter.
  King. With all my heart, and it doth much content me
    To hear him so inclin'd.
    Good gentlemen, give him a further edge
    And drive his purpose on to these delights.
  Ros. We shall, my lord.
                            Exeunt Rosencrantz and Guildenstern.
  King. Sweet Gertrude, leave us too;
    For we have closely sent for Hamlet hither,
    That he, as 'twere by accident, may here
    Affront Ophelia.
    Her father and myself (lawful espials)
    Will so bestow ourselves that, seeing unseen,
    We may of their encounter frankly judge
    And gather by him, as he is behav'd,
    If't be th' affliction of his love, or no,
    That thus he suffers for.
  Queen. I shall obey you;
    And for your part, Ophelia, I do wish
    That your good beauties be the happy cause
    Of Hamlet's wildness. So shall I hope your virtues
    Will bring him to his wonted way again,
    To both your honours.
  Oph. Madam, I wish it may.
                                                   [Exit Queen.]
  Pol. Ophelia, walk you here.- Gracious, so please you,
    We will bestow ourselves.- [To Ophelia] Read on this book,
    That show of such an exercise may colour
    Your loneliness.- We are oft to blame in this,
    'Tis too much prov'd, that with devotion's visage
    And pious action we do sugar o'er
    The Devil himself.
  King. [aside] O, 'tis too true!
    How smart a lash that speech doth give my conscience!
    The harlot's cheek, beautied with plast'ring art,
    Is not more ugly to the thing that helps it
    Than is my deed to my most painted word.
    O heavy burthen!
  Pol. I hear him coming. Let's withdraw, my lord.
                                      Exeunt King and Polonius].

                           Enter Hamlet.

  Ham. To be, or not to be- that is the question:
    Whether 'tis nobler in the mind to suffer
    The slings and arrows of outrageous fortune
    Or to take arms against a sea of troubles,
    And by opposing end them. To die- to sleep-
    No more; and by a sleep to say we end
    The heartache, and the thousand natural shocks
    That flesh is heir to. 'Tis a consummation
    Devoutly to be wish'd. To die- to sleep.
    To sleep- perchance to dream: ay, there's the rub!
    For in that sleep of death what dreams may come
    When we have shuffled off this mortal coil,
    Must give us pause. There's the respect
    That makes calamity of so long life.
    For who would bear the whips and scorns of time,
    Th' oppressor's wrong, the proud man's contumely,
    The pangs of despis'd love, the law's delay,
    The insolence of office, and the spurns
    That patient merit of th' unworthy takes,
    When he himself might his quietus make
    With a bare bodkin? Who would these fardels bear,
    To grunt and sweat under a weary life,
    But that the dread of something after death-
    The undiscover'd country, from whose bourn
    No traveller returns- puzzles the will,
    And makes us rather bear those ills we have
    Than fly to others that we know not of?
    Thus conscience does make cowards of us all,
    And thus the native hue of resolution
    Is sicklied o'er with the pale cast of thought,
    And enterprises of great pith and moment
    With this regard their currents turn awry
    And lose the name of action.- Soft you now!
    The fair Ophelia!- Nymph, in thy orisons
    Be all my sins rememb'red.
  Oph. Good my lord,
    How does your honour for this many a day?
  Ham. I humbly thank you; well, well, well.
  Oph. My lord, I have remembrances of yours
    That I have longed long to re-deliver.
    I pray you, now receive them.
  Ham. No, not I!
    I never gave you aught.
  Oph. My honour'd lord, you know right well you did,
    And with them words of so sweet breath compos'd
    As made the things more rich. Their perfume lost,
    Take these again; for to the noble mind
    Rich gifts wax poor when givers prove unkind.
    There, my lord.
  Ham. Ha, ha! Are you honest?
  Oph. My lord?
  Ham. Are you fair?
  Oph. What means your lordship?
  Ham. That if you be honest and fair, your honesty should admit
no
    discourse to your beauty.
  Oph. Could beauty, my lord, have better commerce than with
honesty?
  Ham. Ay, truly; for the power of beauty will sooner transform
    honesty from what it is to a bawd than the force of honesty
can
    translate beauty into his likeness. This was sometime a
paradox,
    but now the time gives it proof. I did love you once.
  Oph. Indeed, my lord, you made me believe so.
  Ham. You should not have believ'd me; for virtue cannot so
    inoculate our old stock but we shall relish of it. I loved
you
    not.
  Oph. I was the more deceived.
  Ham. Get thee to a nunnery! Why wouldst thou be a breeder of
    sinners? I am myself indifferent honest, but yet I could
accuse
    me of such things that it were better my mother had not borne
me.
    I am very proud, revengeful, ambitious; with more offences at
my
    beck than I have thoughts to put them in, imagination to give
    them shape, or time to act them in. What should such fellows
as I
    do, crawling between earth and heaven? We are arrant knaves
all;
    believe none of us. Go thy ways to a nunnery. Where's your
    father?
  Oph. At home, my lord.
  Ham. Let the doors be shut upon him, that he may play the fool
    nowhere but in's own house. Farewell.
  Oph. O, help him, you sweet heavens!
  Ham. If thou dost marry, I'll give thee this plague for thy
dowry:
    be thou as chaste as ice, as pure as snow, thou shalt not
escape
    calumny. Get thee to a nunnery. Go, farewell. Or if thou wilt
    needs marry, marry a fool; for wise men know well enough what
    monsters you make of them. To a nunnery, go; and quickly too.
    Farewell.
  Oph. O heavenly powers, restore him!
  Ham. I have heard of your paintings too, well enough. God hath
    given you one face, and you make yourselves another. You jig,
you
    amble, and you lisp; you nickname God's creatures and make
your
    wantonness your ignorance. Go to, I'll no more on't! it hath
made
    me mad. I say, we will have no more marriages. Those that are
    married already- all but one- shall live; the rest shall keep
as
    they are. To a nunnery, go.                            Exit.
  Oph. O, what a noble mind is here o'erthrown!
    The courtier's, scholar's, soldier's, eye, tongue, sword,
    Th' expectancy and rose of the fair state,
    The glass of fashion and the mould of form,
    Th' observ'd of all observers- quite, quite down!
    And I, of ladies most deject and wretched,
    That suck'd the honey of his music vows,
    Now see that noble and most sovereign reason,
    Like sweet bells jangled, out of tune and harsh;
    That unmatch'd form and feature of blown youth
    Blasted with ecstasy. O, woe is me
    T' have seen what I have seen, see what I see!

                   Enter King and Polonius.

  King. Love? his affections do not that way tend;
    Nor what he spake, though it lack'd form a little,
    Was not like madness. There's something in his soul
    O'er which his melancholy sits on brood;
    And I do doubt the hatch and the disclose
    Will be some danger; which for to prevent,
    I have in quick determination
    Thus set it down: he shall with speed to England
    For the demand of our neglected tribute.
    Haply the seas, and countries different,
    With variable objects, shall expel
    This something-settled matter in his heart,
    Whereon his brains still beating puts him thus
    From fashion of himself. What think you on't?
  Pol. It shall do well. But yet do I believe
    The origin and commencement of his grief
    Sprung from neglected love.- How now, Ophelia?
    You need not tell us what Lord Hamlet said.
    We heard it all.- My lord, do as you please;
    But if you hold it fit, after the play
    Let his queen mother all alone entreat him
    To show his grief. Let her be round with him;
    And I'll be plac'd so please you, in the ear
    Of all their conference. If she find him not,
    To England send him; or confine him where
    Your wisdom best shall think.
  King. It shall be so.
    Madness in great ones must not unwatch'd go.         Exeunt.





Scene II.
Elsinore. hall in the Castle.

Enter Hamlet and three of the Players.

  Ham. Speak the speech, I pray you, as I pronounc'd it to you,
    trippingly on the tongue. But if you mouth it, as many of our
    players do, I had as live the town crier spoke my lines. Nor
do
    not saw the air too much with your hand, thus, but use all
    gently; for in the very torrent, tempest, and (as I may say)
    whirlwind of your passion, you must acquire and beget a
    temperance that may give it smoothness. O, it offends me to
the
    soul to hear a robustious periwig-pated fellow tear a passion
to
    tatters, to very rags, to split the cars of the groundlings,
who
    (for the most part) are capable of nothing but inexplicable
dumb
    shows and noise. I would have such a fellow whipp'd for
o'erdoing
    Termagant. It out-herods Herod. Pray you avoid it.
  Player. I warrant your honour.
  Ham. Be not too tame neither; but let your own discretion be
your
    tutor. Suit the action to the word, the word to the action;
with
    this special observance, that you o'erstep not the modesty of
    nature: for anything so overdone is from the purpose of
playing,
    whose end, both at the first and now, was and is, to hold, as
    'twere, the mirror up to nature; to show Virtue her own
feature,
    scorn her own image, and the very age and body of the time
his
    form and pressure. Now this overdone, or come tardy off,
though
    it make the unskilful laugh, cannot but make the judicious
    grieve; the censure of the which one must in your allowance
    o'erweigh a whole theatre of others. O, there be players that
I
    have seen play, and heard others praise, and that highly (not
to
    speak it profanely), that, neither having the accent of
    Christians, nor the gait of Christian, pagan, nor man, have
so
    strutted and bellowed that I have thought some of Nature's
    journeymen had made men, and not made them well, they
imitated
    humanity so abominably.
  Player. I hope we have reform'd that indifferently with us,
sir.
  Ham. O, reform it altogether! And let those that play your
clowns
    speak no more than is set down for them. For there be of them
    that will themselves laugh, to set on some quantity of barren
    spectators to laugh too, though in the mean time some
necessary
    question of the play be then to be considered. That's
villanous
    and shows a most pitiful ambition in the fool that uses it.
Go
    make you ready.
                                                 Exeunt Players.

            Enter Polonius, Rosencrantz, and Guildenstern.

    How now, my lord? Will the King hear this piece of work?
  Pol. And the Queen too, and that presently.
  Ham. Bid the players make haste, [Exit Polonius.] Will you two
    help to hasten them?
  Both. We will, my lord.                       Exeunt they two.
  Ham. What, ho, Horatio!

                      Enter Horatio.

  Hor. Here, sweet lord, at your service.
  Ham. Horatio, thou art e'en as just a man
    As e'er my conversation cop'd withal.
  Hor. O, my dear lord!
  Ham. Nay, do not think I flatter;
    For what advancement may I hope from thee,
    That no revenue hast but thy good spirits
    To feed and clothe thee? Why should the poor be flatter'd?
    No, let the candied tongue lick absurd pomp,
    And crook the pregnant hinges of the knee
    Where thrift may follow fawning. Dost thou hear?
    Since my dear soul was mistress of her choice
    And could of men distinguish, her election
    Hath seal'd thee for herself. For thou hast been
    As one, in suff'ring all, that suffers nothing;
    A man that Fortune's buffets and rewards
    Hast ta'en with equal thanks; and blest are those
    Whose blood and judgment are so well commingled
    That they are not a pipe for Fortune's finger
    To sound what stop she please. Give me that man
    That is not passion's slave, and I will wear him
    In my heart's core, ay, in my heart of heart,
    As I do thee. Something too much of this I
    There is a play to-night before the King.
    One scene of it comes near the circumstance,
    Which I have told thee, of my father's death.
    I prithee, when thou seest that act afoot,
    Even with the very comment of thy soul
    Observe my uncle. If his occulted guilt
    Do not itself unkennel in one speech,
    It is a damned ghost that we have seen,
    And my imaginations are as foul
    As Vulcan's stithy. Give him heedful note;
    For I mine eyes will rivet to his face,
    And after we will both our judgments join
    In censure of his seeming.
  Hor. Well, my lord.
    If he steal aught the whilst this play is playing,
    And scape detecting, I will pay the theft.

    Sound a flourish. [Enter Trumpets and Kettledrums. Danish
    march. [Enter King, Queen, Polonius, Ophelia, Rosencrantz,
      Guildenstern, and other Lords attendant, with the Guard
                       carrying torches.

  Ham. They are coming to the play. I must be idle.
    Get you a place.
  King. How fares our cousin Hamlet?
  Ham. Excellent, i' faith; of the chameleon's dish. I eat the
air,
    promise-cramm'd. You cannot feed capons so.
  King. I have nothing with this answer, Hamlet. These words are
not
    mine.
  Ham. No, nor mine now. [To Polonius] My lord, you play'd once
    i' th' university, you say?
  Pol. That did I, my lord, and was accounted a good actor.
  Ham. What did you enact?
  Pol. I did enact Julius Caesar; I was kill'd i' th' Capitol;
Brutus
    kill'd me.
  Ham. It was a brute part of him to kill so capital a calf
there. Be
    the players ready.
  Ros. Ay, my lord. They stay upon your patience.
  Queen. Come hither, my dear Hamlet, sit by me.
  Ham. No, good mother. Here's metal more attractive.
  Pol. [to the King] O, ho! do you mark that?
  Ham. Lady, shall I lie in your lap?
                                  [Sits down at Ophelia's feet.]

  Oph. No, my lord.
  Ham. I mean, my head upon your lap?
  Oph. Ay, my lord.
  Ham. Do you think I meant country matters?
  Oph. I think nothing, my lord.
  Ham. That's a fair thought to lie between maids' legs.
  Oph. What is, my lord?
  Ham. Nothing.
  Oph. You are merry, my lord.
  Ham. Who, I?
  Oph. Ay, my lord.
  Ham. O God, your only jig-maker! What should a man do but be
merry?
    For look you how cheerfully my mother looks, and my father
died
    within 's two hours.
  Oph. Nay 'tis twice two months, my lord.
  Ham. So long? Nay then, let the devil wear black, for I'll have
a
    suit of sables. O heavens! die two months ago, and not
forgotten
    yet? Then there's hope a great man's memory may outlive his
life
    half a year. But, by'r Lady, he must build churches then; or
else
    shall he suffer not thinking on, with the hobby-horse, whose

    epitaph is 'For O, for O, the hobby-horse is forgot!'

               Hautboys play. The dumb show enters.

    Enter a King and a Queen very lovingly; the Queen embracing
    him and he her. She kneels, and makes show of protestation
    unto him. He takes her up, and declines his head upon her
    neck. He lays him down upon a bank of flowers. She, seeing
    him asleep, leaves him. Anon comes in a fellow, takes off his
    crown, kisses it, pours poison in the sleeper's ears, and
    leaves him. The Queen returns, finds the King dead, and makes
    passionate action. The Poisoner with some three or four
Mutes,
    comes in again, seem to condole with her. The dead body is
    carried away. The Poisoner wooes the Queen with gifts; she
    seems harsh and unwilling awhile, but in the end accepts
    his love.
                                                         Exeunt.

  Oph. What means this, my lord?
  Ham. Marry, this is miching malhecho; it means mischief.
  Oph. Belike this show imports the argument of the play.

                      Enter Prologue.

  Ham. We shall know by this fellow. The players cannot keep
counsel;
    they'll tell all.
  Oph. Will he tell us what this show meant?
  Ham. Ay, or any show that you'll show him. Be not you asham'd
to
    show, he'll not shame to tell you what it means.
  Oph. You are naught, you are naught! I'll mark the play.

    Pro. For us, and for our tragedy,
      Here stooping to your clemency,
      We beg your hearing patiently.                     [Exit.]

  Ham. Is this a prologue, or the posy of a ring?
  Oph. 'Tis brief, my lord.
  Ham. As woman's love.

              Enter [two Players as] King and Queen.

    King. Full thirty times hath Phoebus' cart gone round
      Neptune's salt wash and Tellus' orbed ground,
      And thirty dozen moons with borrowed sheen
      About the world have times twelve thirties been,
      Since love our hearts, and Hymen did our hands,
      Unite comutual in most sacred bands.
    Queen. So many journeys may the sun and moon
      Make us again count o'er ere love be done!
      But woe is me! you are so sick of late,
      So far from cheer and from your former state.
      That I distrust you. Yet, though I distrust,
      Discomfort you, my lord, it nothing must;
      For women's fear and love holds quantity,
      In neither aught, or in extremity.
      Now what my love is, proof hath made you know;
      And as my love is siz'd, my fear is so.
      Where love is great, the littlest doubts are fear;
      Where little fears grow great, great love grows there.
    King. Faith, I must leave thee, love, and shortly too;
      My operant powers their functions leave to do.
      And thou shalt live in this fair world behind,
      Honour'd, belov'd, and haply one as kind
      For husband shalt thou-
    Queen. O, confound the rest!
      Such love must needs be treason in my breast.
      When second husband let me be accurst!
      None wed the second but who killed the first.

  Ham. [aside] Wormwood, wormwood!

    Queen. The instances that second marriage move
      Are base respects of thrift, but none of love.
      A second time I kill my husband dead
      When second husband kisses me in bed.
    King. I do believe you think what now you speak;
      But what we do determine oft we break.
      Purpose is but the slave to memory,
      Of violent birth, but poor validity;
      Which now, like fruit unripe, sticks on the tree,
      But fall unshaken when they mellow be.
      Most necessary 'tis that we forget
      To pay ourselves what to ourselves is debt.
      What to ourselves in passion we propose,
      The passion ending, doth the purpose lose.
      The violence of either grief or joy
      Their own enactures with themselves destroy.
      Where joy most revels, grief doth most lament;
      Grief joys, joy grieves, on slender accident.
      This world is not for aye, nor 'tis not strange
      That even our loves should with our fortunes change;
      For 'tis a question left us yet to prove,
      Whether love lead fortune, or else fortune love.
      The great man down, you mark his favourite flies,
      The poor advanc'd makes friends of enemies;
      And hitherto doth love on fortune tend,
      For who not needs shall never lack a friend,
      And who in want a hollow friend doth try,
      Directly seasons him his enemy.
      But, orderly to end where I begun,
      Our wills and fates do so contrary run
      That our devices still are overthrown;
      Our thoughts are ours, their ends none of our own.
      So think thou wilt no second husband wed;
      But die thy thoughts when thy first lord is dead.
    Queen. Nor earth to me give food, nor heaven light,
      Sport and repose lock from me day and night,
      To desperation turn my trust and hope,
      An anchor's cheer in prison be my scope,
      Each opposite that blanks the face of joy
      Meet what I would have well, and it destroy,
      Both here and hence pursue me lasting strife,
      If, once a widow, ever I be wife!

  Ham. If she should break it now!

    King. 'Tis deeply sworn. Sweet, leave me here awhile.
      My spirits grow dull, and fain I would beguile
      The tedious day with sleep.
    Queen. Sleep rock thy brain,
                                                    [He] sleeps.
      And never come mischance between us twain!
Exit.

  Ham. Madam, how like you this play?
  Queen. The lady doth protest too much, methinks.
  Ham. O, but she'll keep her word.
  King. Have you heard the argument? Is there no offence in't?
  Ham. No, no! They do but jest, poison in jest; no offence i'
th'
    world.
  King. What do you call the play?
  Ham. 'The Mousetrap.' Marry, how? Tropically. This play is the
    image of a murther done in Vienna. Gonzago is the duke's
name;
    his wife, Baptista. You shall see anon. 'Tis a knavish piece
of
    work; but what o' that? Your Majesty, and we that have free
    souls, it touches us not. Let the gall'd jade winch; our
withers
    are unwrung.

                         Enter Lucianus.

    This is one Lucianus, nephew to the King.
  Oph. You are as good as a chorus, my lord.
  Ham. I could interpret between you and your love, if I could
see
    the puppets dallying.
  Oph. You are keen, my lord, you are keen.
  Ham. It would cost you a groaning to take off my edge.
  Oph. Still better, and worse.
  Ham. So you must take your husbands.- Begin, murtherer. Pox,
leave
    thy damnable faces, and begin! Come, the croaking raven doth
    bellow for revenge.

    Luc. Thoughts black, hands apt, drugs fit, and time agreeing;
      Confederate season, else no creature seeing;
      Thou mixture rank, of midnight weeds collected,
      With Hecate's ban thrice blasted, thrice infected,
      Thy natural magic and dire property
      On wholesome life usurp immediately.
                                   Pours the poison in his ears.

  Ham. He poisons him i' th' garden for's estate. His name's
Gonzago.
    The story is extant, and written in very choice Italian. You
    shall see anon how the murtherer gets the love of Gonzago's
wife.
  Oph. The King rises.
  Ham. What, frighted with false fire?
  Queen. How fares my lord?
  Pol. Give o'er the play.
  King. Give me some light! Away!
  All. Lights, lights, lights!
                              Exeunt all but Hamlet and Horatio.
  Ham.   Why, let the strucken deer go weep,
          The hart ungalled play;
         For some must watch, while some must sleep:
          Thus runs the world away.
    Would not this, sir, and a forest of feathers- if the rest of
my
    fortunes turn Turk with me-with two Provincial roses on my
raz'd
    shoes, get me a fellowship in a cry of players, sir?
  Hor. Half a share.
  Ham.   A whole one I!
         For thou dost know, O Damon dear,
           This realm dismantled was
         Of Jove himself; and now reigns here
           A very, very- pajock.
  Hor. You might have rhym'd.
  Ham. O good Horatio, I'll take the ghost's word for a thousand
    pound! Didst perceive?
  Hor. Very well, my lord.
  Ham. Upon the talk of the poisoning?
  Hor. I did very well note him.
  Ham.   Aha! Come, some music! Come, the recorders!
         For if the King like not the comedy,
         Why then, belike he likes it not, perdy.
    Come, some music!

                Enter Rosencrantz and Guildenstern.

  Guil. Good my lord, vouchsafe me a word with you.
  Ham. Sir, a whole history.
  Guil. The King, sir-
  Ham. Ay, sir, what of him?
  Guil. Is in his retirement, marvellous distemper'd.
  Ham. With drink, sir?
  Guil. No, my lord; rather with choler.
  Ham. Your wisdom should show itself more richer to signify this
to
    the doctor; for me to put him to his purgation would perhaps
    plunge him into far more choler.
  Guil. Good my lord, put your discourse into some frame, and
start
    not so wildly from my affair.
  Ham. I am tame, sir; pronounce.
  Guil. The Queen, your mother, in most great affliction of
spirit
    hath sent me to you.
  Ham. You are welcome.
  Guil. Nay, good my lord, this courtesy is not of the right
breed.
    If it shall please you to make me a wholesome answer, I will
do
    your mother's commandment; if not, your pardon and my return
    shall be the end of my business.
  Ham. Sir, I cannot.
  Guil. What, my lord?
  Ham. Make you a wholesome answer; my wit's diseas'd. But, sir,
such
    answer as I can make, you shall command; or rather, as you
say,
    my mother. Therefore no more, but to the matter! My mother,
you
    say-
  Ros. Then thus she says: your behaviour hath struck her into
    amazement and admiration.
  Ham. O wonderful son, that can so stonish a mother! But is
there no
    sequel at the heels of this mother's admiration? Impart.
  Ros. She desires to speak with you in her closet ere you go to
bed.
  Ham. We shall obey, were she ten times our mother. Have you any
    further trade with us?
  Ros. My lord, you once did love me.
  Ham. And do still, by these pickers and stealers!
  Ros. Good my lord, what is your cause of distemper? You do
surely
    bar the door upon your own liberty, if you deny your griefs
to
    your friend.
  Ham. Sir, I lack advancement.
  Ros. How can that be, when you have the voice of the King
himself
    for your succession in Denmark?
  Ham. Ay, sir, but 'while the grass grows'- the proverb is
something
    musty.

                     Enter the Players with recorders.

    O, the recorders! Let me see one. To withdraw with you- why
do
    you go about to recover the wind of me, as if you would drive
me
    into a toil?
  Guil. O my lord, if my duty be too bold, my love is too
unmannerly.
  Ham. I do not well understand that. Will you play upon this
pipe?
  Guil. My lord, I cannot.
  Ham. I pray you.
  Guil. Believe me, I cannot.
  Ham. I do beseech you.
  Guil. I know, no touch of it, my lord.
  Ham. It is as easy as lying. Govern these ventages with your
    fingers and thumbs, give it breath with your mouth, and it
will
    discourse most eloquent music. Look you, these are the stops.
  Guil. But these cannot I command to any utt'rance of harmony. I
    have not the skill.
  Ham. Why, look you now, how unworthy a thing you make of me!
You
    would play upon me; you would seem to know my stops; you
would
    pluck out the heart of my mystery; you would sound me from my
    lowest note to the top of my compass; and there is much
music,
    excellent voice, in this little organ, yet cannot you make it
    speak. 'Sblood, do you think I am easier to be play'd on than
a
    pipe? Call me what instrument you will, though you can fret
me,
    you cannot play upon me.

                        Enter Polonius.

    God bless you, sir!
  Pol. My lord, the Queen would speak with you, and presently.
  Ham. Do you see yonder cloud that's almost in shape of a camel?
  Pol. By th' mass, and 'tis like a camel indeed.
  Ham. Methinks it is like a weasel.
  Pol. It is back'd like a weasel.
  Ham. Or like a whale.
  Pol. Very like a whale.
  Ham. Then will I come to my mother by-and-by.- They fool me to
the
    top of my bent.- I will come by-and-by.
  Pol. I will say so.                                      Exit.
  Ham. 'By-and-by' is easily said.- Leave me, friends.
                                        [Exeunt all but Hamlet.]

    'Tis now the very witching time of night,
    When churchyards yawn, and hell itself breathes out
    Contagion to this world. Now could I drink hot blood
    And do such bitter business as the day
    Would quake to look on. Soft! now to my mother!
    O heart, lose not thy nature; let not ever
    The soul of Nero enter this firm bosom.
    Let me be cruel, not unnatural;
    I will speak daggers to her, but use none.
    My tongue and soul in this be hypocrites-
    How in my words somever she be shent,
    To give them seals never, my soul, consent!             Exit.





Scene III.
A room in the Castle.

Enter King, Rosencrantz, and Guildenstern.

  King. I like him not, nor stands it safe with us
    To let his madness range. Therefore prepare you;
    I your commission will forthwith dispatch,
    And he to England shall along with you.
    The terms of our estate may not endure
    Hazard so near us as doth hourly grow
    Out of his lunacies.
  Guil. We will ourselves provide.
    Most holy and religious fear it is
    To keep those many many bodies safe
    That live and feed upon your Majesty.
  Ros. The single and peculiar life is bound
    With all the strength and armour of the mind
    To keep itself from noyance; but much more
    That spirit upon whose weal depends and rests
    The lives of many. The cesse of majesty
    Dies not alone, but like a gulf doth draw
    What's near it with it. It is a massy wheel,
    Fix'd on the summit of the highest mount,
    To whose huge spokes ten thousand lesser things
    Are mortis'd and adjoin'd; which when it falls,
    Each small annexment, petty consequence,
    Attends the boist'rous ruin. Never alone
    Did the king sigh, but with a general groan.
  King. Arm you, I pray you, to this speedy voyage;
    For we will fetters put upon this fear,
    Which now goes too free-footed.
  Both. We will haste us.
                                               Exeunt Gentlemen.

                   Enter Polonius.

  Pol. My lord, he's going to his mother's closet.
    Behind the arras I'll convey myself
    To hear the process. I'll warrant she'll tax him home;
    And, as you said, and wisely was it said,
    'Tis meet that some more audience than a mother,
    Since nature makes them partial, should o'erhear
    The speech, of vantage. Fare you well, my liege.
    I'll call upon you ere you go to bed
    And tell you what I know.
  King. Thanks, dear my lord.
                                                Exit [Polonius].
    O, my offence is rank, it smells to heaven;
    It hath the primal eldest curse upon't,
    A brother's murther! Pray can I not,
    Though inclination be as sharp as will.
    My stronger guilt defeats my strong intent,
    And, like a man to double business bound,
    I stand in pause where I shall first begin,
    And both neglect. What if this cursed hand
    Were thicker than itself with brother's blood,
    Is there not rain enough in the sweet heavens
    To wash it white as snow? Whereto serves mercy
    But to confront the visage of offence?
    And what's in prayer but this twofold force,
    To be forestalled ere we come to fall,
    Or pardon'd being down? Then I'll look up;
    My fault is past. But, O, what form of prayer
    Can serve my turn? 'Forgive me my foul murther'?
    That cannot be; since I am still possess'd
    Of those effects for which I did the murther-
    My crown, mine own ambition, and my queen.
    May one be pardon'd and retain th' offence?
    In the corrupted currents of this world
    Offence's gilded hand may shove by justice,
    And oft 'tis seen the wicked prize itself
    Buys out the law; but 'tis not so above.
    There is no shuffling; there the action lies
    In his true nature, and we ourselves compell'd,
    Even to the teeth and forehead of our faults,
    To give in evidence. What then? What rests?
    Try what repentance can. What can it not?
    Yet what can it when one cannot repent?
    O wretched state! O bosom black as death!
    O limed soul, that, struggling to be free,
    Art more engag'd! Help, angels! Make assay.
    Bow, stubborn knees; and heart with strings of steel,
    Be soft as sinews of the new-born babe!
    All may be well.                                  He kneels.

                         Enter Hamlet.

  Ham. Now might I do it pat, now he is praying;
    And now I'll do't. And so he goes to heaven,
    And so am I reveng'd. That would be scann'd.
    A villain kills my father; and for that,
    I, his sole son, do this same villain send
    To heaven.
    Why, this is hire and salary, not revenge!
    He took my father grossly, full of bread,
    With all his crimes broad blown, as flush as May;
    And how his audit stands, who knows save heaven?
    But in our circumstance and course of thought,
    'Tis heavy with him; and am I then reveng'd,
    To take him in the purging of his soul,
    When he is fit and seasoned for his passage?
    No.
    Up, sword, and know thou a more horrid hent.
    When he is drunk asleep; or in his rage;
    Or in th' incestuous pleasure of his bed;
    At gaming, swearing, or about some act
    That has no relish of salvation in't-
    Then trip him, that his heels may kick at heaven,
    And that his soul may be as damn'd and black
    As hell, whereto it goes. My mother stays.
    This physic but prolongs thy sickly days.              Exit.
  King. [rises] My words fly up, my thoughts remain below.
    Words without thoughts never to heaven go.             Exit.





Scene IV.
The Queen's closet.

Enter Queen and Polonius.

  Pol. He will come straight. Look you lay home to him.
    Tell him his pranks have been too broad to bear with,
    And that your Grace hath screen'd and stood between
    Much heat and him. I'll silence me even here.
    Pray you be round with him.
  Ham. (within) Mother, mother, mother!
  Queen. I'll warrant you; fear me not. Withdraw; I hear him
coming.
                              [Polonius hides behind the arras.]

                          Enter Hamlet.

  Ham. Now, mother, what's the matter?
  Queen. Hamlet, thou hast thy father much offended.
  Ham. Mother, you have my father much offended.
  Queen. Come, come, you answer with an idle tongue.
  Ham. Go, go, you question with a wicked tongue.
  Queen. Why, how now, Hamlet?
  Ham. What's the matter now?
  Queen. Have you forgot me?
  Ham. No, by the rood, not so!
    You are the Queen, your husband's brother's wife,
    And (would it were not so!) you are my mother.
  Queen. Nay, then I'll set those to you that can speak.
  Ham. Come, come, and sit you down. You shall not budge;
    You go not till I set you up a glass
    Where you may see the inmost part of you.
  Queen. What wilt thou do? Thou wilt not murther me?
    Help, help, ho!
  Pol. [behind] What, ho! help, help, help!
  Ham. [draws] How now? a rat? Dead for a ducat, dead!
            [Makes a pass through the arras and] kills Polonius.
  Pol. [behind] O, I am slain!
  Queen. O me, what hast thou done?
  Ham. Nay, I know not. Is it the King?
  Queen. O, what a rash and bloody deed is this!
  Ham. A bloody deed- almost as bad, good mother,
    As kill a king, and marry with his brother.
  Queen. As kill a king?
  Ham. Ay, lady, it was my word.
                         [Lifts up the arras and sees Polonius.]
    Thou wretched, rash, intruding fool, farewell!
    I took thee for thy better. Take thy fortune.
    Thou find'st to be too busy is some danger.
    Leave wringing of your hands. Peace! sit you down
    And let me wring your heart; for so I shall
    If it be made of penetrable stuff;
    If damned custom have not braz'd it so
    That it is proof and bulwark against sense.
  Queen. What have I done that thou dar'st wag thy tongue
    In noise so rude against me?
  Ham. Such an act
    That blurs the grace and blush of modesty;
    Calls virtue hypocrite; takes off the rose
    From the fair forehead of an innocent love,
    And sets a blister there; makes marriage vows
    As false as dicers' oaths. O, such a deed
    As from the body of contraction plucks
    The very soul, and sweet religion makes
    A rhapsody of words! Heaven's face doth glow;
    Yea, this solidity and compound mass,
    With tristful visage, as against the doom,
    Is thought-sick at the act.
  Queen. Ah me, what act,
    That roars so loud and thunders in the index?
  Ham. Look here upon th's picture, and on this,
    The counterfeit presentment of two brothers.
    See what a grace was seated on this brow;
    Hyperion's curls; the front of Jove himself;
    An eye like Mars, to threaten and command;
    A station like the herald Mercury
    New lighted on a heaven-kissing hill:
    A combination and a form indeed
    Where every god did seem to set his seal
    To give the world assurance of a man.
    This was your husband. Look you now what follows.
    Here is your husband, like a mildew'd ear
    Blasting his wholesome brother. Have you eyes?
    Could you on this fair mountain leave to feed,
    And batten on this moor? Ha! have you eyes
    You cannot call it love; for at your age
    The heyday in the blood is tame, it's humble,
    And waits upon the judgment; and what judgment
    Would step from this to this? Sense sure you have,
    Else could you not have motion; but sure that sense
    Is apoplex'd; for madness would not err,
    Nor sense to ecstacy was ne'er so thrall'd
    But it reserv'd some quantity of choice
    To serve in such a difference. What devil was't
    That thus hath cozen'd you at hoodman-blind?
    Eyes without feeling, feeling without sight,
    Ears without hands or eyes, smelling sans all,
    Or but a sickly part of one true sense
    Could not so mope.
    O shame! where is thy blush? Rebellious hell,
    If thou canst mutine in a matron's bones,
    To flaming youth let virtue be as wax
    And melt in her own fire. Proclaim no shame
    When the compulsive ardour gives the charge,
    Since frost itself as actively doth burn,
    And reason panders will.
  Queen. O Hamlet, speak no more!
    Thou turn'st mine eyes into my very soul,
    And there I see such black and grained spots
    As will not leave their tinct.
  Ham. Nay, but to live
    In the rank sweat of an enseamed bed,
    Stew'd in corruption, honeying and making love
    Over the nasty sty!
  Queen. O, speak to me no more!
    These words like daggers enter in mine ears.
    No more, sweet Hamlet!
  Ham. A murtherer and a villain!
    A slave that is not twentieth part the tithe
    Of your precedent lord; a vice of kings;
    A cutpurse of the empire and the rule,
    That from a shelf the precious diadem stole
    And put it in his pocket!
  Queen. No more!

                Enter the Ghost in his nightgown.

  Ham. A king of shreds and patches!-
    Save me and hover o'er me with your wings,
    You heavenly guards! What would your gracious figure?
  Queen. Alas, he's mad!
  Ham. Do you not come your tardy son to chide,
    That, laps'd in time and passion, lets go by
    Th' important acting of your dread command?
    O, say!
  Ghost. Do not forget. This visitation
    Is but to whet thy almost blunted purpose.
    But look, amazement on thy mother sits.
    O, step between her and her fighting soul
    Conceit in weakest bodies strongest works.
    Speak to her, Hamlet.
  Ham. How is it with you, lady?
  Queen. Alas, how is't with you,
    That you do bend your eye on vacancy,
    And with th' encorporal air do hold discourse?
    Forth at your eyes your spirits wildly peep;
    And, as the sleeping soldiers in th' alarm,
    Your bedded hairs, like life in excrements,
    Start up and stand an end. O gentle son,
    Upon the heat and flame of thy distemper
    Sprinkle cool patience! Whereon do you look?
  Ham. On him, on him! Look you how pale he glares!
    His form and cause conjoin'd, preaching to stones,
    Would make them capable.- Do not look upon me,
    Lest with this piteous action you convert
    My stern effects. Then what I have to do
    Will want true colour- tears perchance for blood.
  Queen. To whom do you speak this?
  Ham. Do you see nothing there?
  Queen. Nothing at all; yet all that is I see.
  Ham. Nor did you nothing hear?
  Queen. No, nothing but ourselves.
  Ham. Why, look you there! Look how it steals away!
    My father, in his habit as he liv'd!
    Look where he goes even now out at the portal!
                                                     Exit Ghost.
  Queen. This is the very coinage of your brain.
    This bodiless creation ecstasy
    Is very cunning in.
  Ham. Ecstasy?
    My pulse as yours doth temperately keep time
    And makes as healthful music. It is not madness
    That I have utt'red. Bring me to the test,
    And I the matter will reword; which madness
    Would gambol from. Mother, for love of grace,
    Lay not that flattering unction to your soul
    That not your trespass but my madness speaks.
    It will but skin and film the ulcerous place,
    Whiles rank corruption, mining all within,
    Infects unseen. Confess yourself to heaven;
    Repent what's past; avoid what is to come;
    And do not spread the compost on the weeds
    To make them ranker. Forgive me this my virtue;
    For in the fatness of these pursy times
    Virtue itself of vice must pardon beg-
    Yea, curb and woo for leave to do him good.
  Queen. O Hamlet, thou hast cleft my heart in twain.
  Ham. O, throw away the worser part of it,
    And live the purer with the other half,
    Good night- but go not to my uncle's bed.
    Assume a virtue, if you have it not.
    That monster, custom, who all sense doth eat
    Of habits evil, is angel yet in this,
    That to the use of actions fair and good
    He likewise gives a frock or livery,
    That aptly is put on. Refrain to-night,
    And that shall lend a kind of easiness
    To the next abstinence; the next more easy;
    For use almost can change the stamp of nature,
    And either [master] the devil, or throw him out
    With wondrous potency. Once more, good night;
    And when you are desirous to be blest,
    I'll blessing beg of you.- For this same lord,
    I do repent; but heaven hath pleas'd it so,
    To punish me with this, and this with me,
    That I must be their scourge and minister.
    I will bestow him, and will answer well
    The death I gave him. So again, good night.
    I must be cruel, only to be kind;
    Thus bad begins, and worse remains behind.
    One word more, good lady.
  Queen. What shall I do?
  Ham. Not this, by no means, that I bid you do:
    Let the bloat King tempt you again to bed;
    Pinch wanton on your cheek; call you his mouse;
    And let him, for a pair of reechy kisses,
    Or paddling in your neck with his damn'd fingers,
    Make you to ravel all this matter out,
    That I essentially am not in madness,
    But mad in craft. 'Twere good you let him know;
    For who that's but a queen, fair, sober, wise,
    Would from a paddock, from a bat, a gib
    Such dear concernings hide? Who would do so?
    No, in despite of sense and secrecy,
    Unpeg the basket on the house's top,
    Let the birds fly, and like the famous ape,
    To try conclusions, in the basket creep
    And break your own neck down.
  Queen. Be thou assur'd, if words be made of breath,
    And breath of life, I have no life to breathe
    What thou hast said to me.
  Ham. I must to England; you know that?
  Queen. Alack,
    I had forgot! 'Tis so concluded on.
  Ham. There's letters seal'd; and my two schoolfellows,
    Whom I will trust as I will adders fang'd,
    They bear the mandate; they must sweep my way
    And marshal me to knavery. Let it work;
    For 'tis the sport to have the enginer
    Hoist with his own petar; and 't shall go hard
    But I will delve one yard below their mines
    And blow them at the moon. O, 'tis most sweet
    When in one line two crafts directly meet.
    This man shall set me packing.
    I'll lug the guts into the neighbour room.-
    Mother, good night.- Indeed, this counsellor
    Is now most still, most secret, and most grave,
    Who was in life a foolish peating knave.
    Come, sir, to draw toward an end with you.
    Good night, mother.
                  [Exit the Queen. Then] Exit Hamlet, tugging in
                                                       Polonius.

 An entourage consisting of the king and queen, Polonius and Ophelia, and Rosencrantz and Guildenstern enters to begin the Act. Claudius asks Rosencrantz and Guildenstern what they have learned about Hamlet's malady. The two reply that they have not been able to find its cause. They do mention, however, that Hamlet was very enthusiastic about the players' performance that night, which prompts Claudius to agree to attend the play. Rosencrantz and Guildenstern leave. Polonius and Claudius then begin their plan to loose Ophelia on Hamlet and mark their encounter, hoping to find the root of his madness. They instruct Ophelia to pretend that she is simply reading a book and withdraw behind a tapestry. Hamlet enters and delivers the most famous speech in literature, beginning, "To be or not to be." After this long meditation on the nature of being and death, Hamlet catches sight of Ophelia. After a short conversation she attempts to return some of the remembrances that Hamlet gave when courting her. Hamlet replies caustically, questioning Ophelia's honesty. He then berates Ophelia, telling her off sarcastically and venomously, with the refrain, "Get thee to a nunnery," or in other words, "Go become a nun to control your lust." After this tirade, Hamlet exists, leaving Ophelia in shambles. Claudius and Polonius step out of their hiding place. The king states that he does not believe that Hamlet is mad because of his foiled love for Ophelia, or really mad at all, but tormented for some hidden reason. He determines to send Hamlet on a diplomatic mission to England before he can cause any serious trouble. Polonius endorses this plan, but persists in his belief that Hamlet's grief is the result of his love for Ophelia. He consoles his daughter. Polonius suggests in parting that Claudius arrange a private interview between Hamlet and his mother after the play that evening and Claudius agrees. Scene 2 Just as the play is about to begin, Hamlet instructs the players on the art of acting, telling them to act naturally and to avoid bombast. He sets the players to their preparations and then conferences with Horatio. After complimenting Horatio in the most sterling terms, Hamlet asks his friend to assist him in watching the king's response to the play they are about to see . Horatio seats himself so as to view the king properly. The royal entourage enters. Hamlet manically chatters with Claudius, Polonius, Gertrude and Ophelia, reserving special attention for the latter, whom he sits next to and teases. The play begins with a "Dumb Show," which is a pantomime of the drama to come. On stage, the basic form of the alleged murder is repeated: a king and queen are shown happily married; the king takes a nap; a poisoner enters and pours something in the king's ear, killing him; the poisoner than takes possession of the queen. Ophelia seems confused by this plot but Hamlet tells her to wait for the speaker of the prologue to explain. The prologue is a short little jingling rhyme. The player king and queen then immediately enter the stage. The king mentions that they have been married thirty years. The player queen expresses a hope that their love last as long over again. The king encourages the queen to remarry if he dies. The queen protests against this notion vehemently, swearing never to love another if were to she turn widow. With this, the king falls asleep and the queen exits. Hamlet asks his mother, Gertrude, how she likes the play, and Gertrude replies with the famous line, "The lady doth protest too much, methinks." Claudius is also outspokenly apprehensive about the nature of the play. It continues, however, with the entrance of Lucianus, the sleeping king's nephew. This evil character creeps up to the sleeping player king and pours poison in his ear. Hamlet, unable to contain himself, erupts, telling everyone that Lucianus will soon win the love of the king's over-protesting wife. At this, Claudius rises and orders the play to end. He retreats with his retinue. Hamlet and Horatio laugh together, certain now that the ghost was telling the truth. After a short celebration, Rosencrantz and Guildenstern enter and tell Hamlet that he has made Claudius very angry. They also say that Gertrude has ordered Hamlet to meet her in her chamber. They then entreat Hamlet to tell the cause of his distemper. Hamlet replies mockingly by saying that they are trying to play him like a pipe and that he won't let them. Polonius enters and entreats Hamlet again to see his mother. All exit but Hamlet. In a short soliloquy, Hamlet reflects that he will be cruel to his mother, showing her the extent of her crime in marrying Claudius, but will not actually hurt her. Scene 3 Claudius gives Rosencrantz and Guildenstern a sealed envelope with orders to convey Hamlet to England and give the envelope to the king there. In highly flattering terms, they agree to do the king's bidding and exit. Polonius then enters, saying that Hamlet is going to meet with his mother, and declaring his intention to hide behind an arras and listen to their conversation. He exits. Alone, the king looks into his soul. He is deeply disgusted by what he sees. He kneels to pray, hoping to purge his guilt, but reflects that this penance will not be genuine because he will still retain the prizes for which he committed murder in the first place, his crown and his wife. As Claudius is vainly attempting to pray, Hamlet comes up behind him. He reflects that he now has an opportunity to kill his uncle and revenge his father, but pauses, considering that because Claudius is in the act of prayer he would likely go straight to heaven if killed. Hamlet resolves to kill Claudius later, when he is in the middle of some sinful act. He continues on to his mother's chamber. Scene 4 In the chamber, awaiting Hamlet's arrival, Polonius hides himself behind one of Gertrude's curtains. Hamlet enters. Gertrude attempts to be firm and chastising, but Hamlet comes right back at her, saying that she has sinned mightily in marrying her husband's brother. He pulls his mother in front of a mirror, saying that he will reveal her inmost part, and Gertrude momentarily misinterprets this, thinking that Hamlet may attempt to murder her. She cries for help. Polonius, hidden from view, also cries out for help. Hamlet thinks that the hidden voice belongs to Claudius. He stabs Polonius through the curtain, killing him. When he sees that he has killed Polonius, Hamlet declares the old man to be a "rash, intruding fool." Quickly forgetting about this death, Hamlet seats his mother down and presents her with two portraits, one of her first husband and the other of Claudius. He describes the two as opposites, the one all nobility and virtue, the other all deformity and vice. Gertrude is deeply affected by this comparison and seems to comprehend the enormity of her sin. Hamlet continues to berate her and describe Claudius in the most foul and hurtful language. While in the middle of this harangue, Old Hamlet's ghost appears once more, telling Hamlet to stop torturing his mother and to remember his duty to kill Claudius. At the ghost's command, Hamlet consoles his mother. Gertrude, unable to see the ghost, sees Hamlet talking to thin air and resolves that he is indeed insane. The ghost exits. Hamlet tells his mother that he is not in fact insane. He reiterates that she should repent her marriage to Claudius and tells her in particular to stay away from their shared bed for the night. After describing the importance of this abstinence in the most colorful terms, Hamlet reminds his mother that he is ordered to England. Hamlet says that although he will go to England, he will not trust Rosencrantz and Guildenstern. He exits his mother's bedroom, dragging the body of Polonius behind him.

