correctness in this particular case would seem to be settled by the following passage in the Preface to Ulpian Fullwell's Arte of Flatterie, 1579, of which, indeed, Hamlet's speech is not improbably a reminiscence: "Flatterie hath taken such habit in man's affections, that it is in most men altera natura; yea the very sucking babes hath a kind of adulation towards their nurses for the dugge."

193. fond and winnowed opinions:-Warburton's emendation fann'd is apt, and has found many supporters. Fleay proposes fond unwinnowed. Moberly explains: "frothy expressions suited to express the absurdest and most over-refined notions"; Clarendon Press: “The metaphor is a mixed one Osric, and others like him, are compared to the chaff which mounts higher than the sifted wheat, and to the bubbles which rise to the surface through the deeper water." The metaphor in "winnowed" seems to be incidental and latent; the meaning is "Their frothy acquisitions carry them successfully through the slight judgements of the most exquisite arbiters elegantiarum." If we read fanned, the same remains the meaning.

290. This speaking of Hamlet as fat and scant of breath is greatly at odds with the idea we are apt to form of him. It seems likely enough to have been true that the expression was used with special reference to Burbage, the original actor of Hamlet's part. Burbage died in 1619; and in a manuscript elegy upon his death are the following lines, which both ascertain his original performance of the part, and also render it probable that the words in question had reference to him:

"No more young Hamlet, though but scant of breath,
Shall cry' Revenge!' for his dear father's death."

367. This quarry cries on havoc :-This heap of dead proclaims an indiscriminate slaughter.

395. whose voice will draw on more:-More voices; alluding to Hamlet's declaration, just above, that Fortinbras has his dying voice for the succession.

Questions on Hamlet.

1. Give some account of the early editions; of the First Quarto; of the Lost Hamlet; of the German Hamlet; date of composition of Shakespeare's Hamlet; source of the story; scene of the drama.

ACT FIRST.

2. What effect on the mind is produced by the opening Scene? How does it prepare us for the rest of the play?

3. What pervading temper in the play is indicated by Francisco's words, sick at heart, almost at the very beginning?

4. By whom and in what line is the appearance of the Ghost first spoken of?

5. Describe the effect of the apparition upon Horatio. What does he think of it? What do you think of Horatio's nature as revealed in the first Scene?

6. How do Horatio and Bernardo connect the appearance of the Ghost with the state of affairs then existing in Norway?

7. What beliefs concerning ghosts were current in northern Europe at the period here dealt with? In England in the time of Elizabeth? Are any of these notions uttered by Marcellus and Horatio?

. 8. Tell what the King says about his brother's death. What does he say of his marriage to his brother's widow? How does he speak of young Fortinbras?

9. What is the King's greeting to old Norway?

10. What does Laertes request of the King? How does the King answer?

II. Interpret Hamlet's aside describing the King. What does he mean by kind?

12. Give the substance of Hamlet's conversation with the King and Queen immediately following the aside.

13. Comment on Hamlet's self-revelation in the succeeding soliloquy. Account for the ennui and dejection here shown by him.

14. What dramatic purpose is served by the conversation and soliloquy just mentioned?

15. What leads Hamlet to determine that he will watch for the Ghost? What does he mean by your loves?

16. How does Laertes, at the opening of Sc. iii., speak to Ophelia about Hamlet? What feeling towards Hamlet does Laertes betray? What is the cause of this feeling?

17. Summarize the conversation in Sc. iii. between Polonius and Ophelia concerning Hamlet.

18. What is signified by the reappearance of the Ghost?

19. Account for the evasiveness of Hamlet in talking of the Ghost with Horatio and Marcellus. How does Hamlet behave after the Ghost is gone? Explain this.

20. What is meant (Sc. iv. 47) by canonized bones?

21. What does Hamlet mean by his words, at the end of the first Act, The time is out of joint, etc.? What do these words reveal in Hamlet's nature?

22. Briefly sum up what has been done by the Poet in Act I,

ACT SECOND.

23. What is your explanation of Hamlet's behavior with Ophelia as related by her to Polonius? Has it any connection with his putting an antic disposition on?

24. How do you explain Hamlet's dislike for Polonius?

25. Why is Polonius so ready to believe that he has discovered the cause of Hamlet's madness?

26. What is Ophelia's idea of Hamlet's mental state? What does the Queen regard as causing his distemper?

27. Give your own opinion of Hamlet's lunacy. Are there wellsupported views differing from yours? If so, state some of them and answer them.

do the King and Queen What had been the pre

28. With what commission (Sc. ii.) charge Rosencrantz and Guildenstern? vious relations between these two and Hamlet?

29. How does Polonius describe Hamlet's behavior and condition to the King and Queen?

30. How far do you think Polonius understood the method which he detected in Hamlet's madness? What part of Hamlet's language in his conversation with Polonius is due to his dis

temper, and how much consists of ironical turns to Polonius's own words?

31. Does Hamlet suspect Rosencrantz and Guildenstern on their first visit to him, or does suspicion gradually grow upon him? 32. Is there any sarcasm in Hamlet's words, Shall we to the court? for, by my fay, I cannot reason?

33. Has anything like a settled resolution as to the vengeance he is to inflict yet taken possession of Hamlet?

34. Of what does Rosencrantz inform Hamlet concerning the players? What conversation about the players follows?

35. Give some account of Hamlet's description of a play. Does it show his idea of what a good play should be?

36. Is the speech of the players which Hamlet cites really Eneas' tale to Dido?

37. What comparison of himself with the player does Hamlet make? As a result of this comparison, how does he describe himself?

38. Do the words, or ere this I should have fatted all the region kites with this slave's offal, indicate that Hamlet has ever seriously meditated the killing of the King?

39. What self-revelation does Hamlet make in the soliloquy which ends the second Act? Compare this soliloquy with Hamlet's words, already cited, The time is out of joint, etc.

40. What do you say of Hamlet's display of determination in the closing words of the second Act?

ACT THIRD.

41. Do Rosencrantz and Guildenstern give the King and Queen a true report of their mission to Hamlet?

42. Is there humour or sarcasm in Polonius's remark on hypocrisy? What does the King utter in the nature of a confession?

43. Is this a crucial moment in the play? Does it foreshadow any subsequent episode?

44. What additional light does the soliloquy in Sc. i. throw upon Hamlet's character? Shall we take it to convey his settled philosophy of life? What do you think of his balanced arguments on suicide?

45. When did Ophelia last see Hamlet? Why does he ask, Where's your father?

46. Does Hamlet at this interview assume madness, or does he merely puzzle Ophelia with double meanings?

47. What may be inferred from this Act regarding the stage in Shakespeare's day? Are the faults of actors here referred to such as would have been likely to come under the notice of a Prince of Denmark in Hamlet's time?

48. What is Hamlet's view of Horatio's character (Sc. ii. 61 et seq.)? What dramatic purpose does this speech serve?

49. How does Hamlet's manner change after the entrance of the King, Queen, and others to see the play?

50. Why does the King break up the play? Is Hamlet's the only explanation possible?

51. Compare the second scene between Hamlet and Rosencrantz and Guildenstern with the first. What differences of temper does Hamlet display, and why?

52. Does the King suggest to Polonius that he go eavesdropping in the Queen's closet?

53. How much time has elapsed between the play scene and the King's soliloquy of confession? Has the confession anywhere been foreshadowed?

54. What several motives for his crime does the King reveal? Does he here inspire pity at all?

55. Does Hamlet delay killing the King from any other motive than desire for more adequate revenge? Does postponement make the revenge more complete?

56. Whom does Hamlet suppose to be behind the arras? Whom does he kill there?

57. Could the Poet have made any further use of Polonius in the play, or was his work finished? What has been Polonius's particular agency in the drama?

58. Does Hamlet accuse his mother of complicity in his father's murder?

59. How do you understand Hamlet's use of the pictures for purposes of comparison? If before unaware of the King's crime, is the Queen acquainted with it by Hamlet's words or does she regard them as a sign of his madness?

60. What reason does the Ghost give for its second visitation? Is this the true reason? If so, explain it.

61. Can the King longer be in doubt as to real or feigned madness in Hamlet?