And with his other hand, thus o'er his brow, lar As he would draw it. Long time staid he so; And thrice his head thus waving up and down (42) transformed state; for which observe his prototype, after reading note 43, post. Fig. 66. (42) Thrice; this alludes to the triple outline of which (as frequently before observed), the face of Hudibras, (now Hamlet,) is composed; waving, refers to the libratory motion of the moon. And end his being. Then he fets me go, Pol. Come, go with me, I will go seek the King. This is the very ecstacy of love; Whose violent property foredoes itself, And leads the will to desperate undertakings, That does afflict our natures. I am sorry. What, have you given him any hard words of late? Oph. No, my good Lord; but as you did com I did repel his letters, and denied His access to me... Pol. That hath made him mad. [mand, I'm sorry that with better speed and judgment And meant to wreck thee; but beshrew my jea- To cast beyond ourselves in our opinions, As it is common for the younger sort [lousy; To lack discretion. Come, go we to the King. This must be known; which being kept close, might move T (24) More grief to hide, than hate to utter, love. [Exeunt. SCENE changes to the Palace. Enter King, Queen, ROSINCRANTZ, GUILDENSTERN, Lords, and other Attendants. King. Welcome, dear Rosincrantz and Guilden stern! Moreover that we much did long to see you, More than his father's death, that thus hath put him you both, I cannot dream of. I intreat That being of so young days brought up with him, And since so neighboured to his youth and humor, That you vouchsafe you rest here in our court (43) It seems, from this passage, that during the first act, and up to the time of Ophelia's description of Hamlet, given in the last scene, his figure is principally to be referred to the second, or middle one, of the three outlines mentioned in the last note, such as it is drawn in figure 58, ante; but afterwards to the first outline, namely, the one most on the right hand, as he is drawn in figure 66; this accords best with her description of him in his lunatic transformation; which transformation those several outlines appear to have suggested to the poet's fancy. Some little time; so by your companies -(44) Queen Good gentlemen, he hath much talked of you in tale a la d And sure I am two men there are not living, For the supply and profit of our hope,i hamısınIf Your visitation shall receive such thanks As fit a king's remembrance. T (44) Guildenstern is to be referred to the same prototype as Magnano in Hudibras, drawn ante, in figure 19.T This is particularly determined by a future scene, in which Hamlet desires Guildenstern to play upon a recorder, introduced accordingly, as copied from the moon, in figure 67. If his person be viewed there with the back down- ~ wards, it will be seen to resemble the gilded stern of a ship, and from thence comes his name. Rosencrantz is the smaller figure, in pale light, standing behind and below Guildenstern, and is drawn in figure 68. There is a particular circumstance, equally regarding the prototype of both Rosencrantz and Guildenstern, which explains this and numerous other passages, in which the poet insinuates: that they are fit companions for persons addicted to plea- ~'. 2 |