as three of my Editions have it; and as I know it is constantly pronounc'd on the Stage: That he is mad, 'tis true; 'tis true, 'tis Pity; And Pity 'tis, 'tis true. XL. Ibid. For this effect defective [,] comes by caufe [,] Either the Comma after defective must be taken out, or another added before it; otherwife, the Subftantive is disjoined from its Verb. Reftore it, For this Effect, defective, comes by Caufe; XLI. Ibid. Page 384. POLONIUS having explain'd to them the Nature of HAMLET'S Lunacy, and from what Cause he imagines it to have sprung; the King asks the Queen, if fhe is of Opinion that it had fuch a Rife; which, fhe confeffes, feems very probable to her that it might. Restore, therefore, as all my Editions have it. Take this from this, if this be otherwife [,] POLONIUS thinks himself fo certain of being right in his Dif covery, that he is willing the King fhould take his Head from L his Falle Pointing. Correction from Various Reading. Falfe Pointing. his Shoulders, if he is out in his Politicks. It must be point Various Conjectural Take This from This, --- if This be otherwife ; XLIII. Ibid. If he love her not, And be not from his reason fal'n thereon, AND keep a farm and carters. Instead of the Copulative AND, which does not make the Sense fo clear, my two Quarto Editions read it, I think, better, with a Conjunction disjunctive. If he love her not, And be not from his Reason fall'n thereon, Let me be no Affiftant for a State, BUT keep a Farm and Carters.. XLIV. Act 2. Scene 6. Page 391. Emendation. These are now the FASHION, and fo berattle the common STAGES (fo they call them,) that many wearing rapiers are afraid of goofequills, and dare fcarce come thither. I'll give the Reading firft as I think it ought to be reftor'd, and then affign the Reasons. Thefe now are the FACTION, and so berattle the common STAGERS (So they call them,) that Many wearing Rapiers are afraid of Goofe-quills, and dare fcarce come thither. The Poet, as it were, here fteps out of Denmark into England, and makes Rofencraus, in talking of Theatres, allude to the Plays per performed at home by the Children of the King's Chappel; who XLV. Ibid. ing. What, are they Children? who maintains them? how are they efcoted? False Pointwill they pursue the quality no longer than they can fing? will they not say afterwards, if they should grow themselves to common players [?][] as it is most like, if their Means are no better: [] their writers do them wrong to make them exclaim against their own Succeffion [.] The Pointing of the latter Part of this Speech is fo very faulty, Reftore it, as Will they not fay afterwards, if they should grow themselves to com- I cannot help obferving, that the Beginning of this Speech con- XLVI. Ibid. Faith, there has been much to do on both fides; and the Nation holds it no fin, to tarre them [] to controverfie. I think it will be more numerous to the Ear, and, perhaps, requifite in point of Language, to read; And the Nation holds it no Sin to tarre them on to Controverfie. To To tarre on is an old ENGLISH Word, fignifying, to provoke, urge on, fet on, as we do Dogs to fighting. And fo, I observe, SHAKESPEARE in other Paffages writes it. King JOHN, pag. 169. And like a Dog, that is compell'd to fight, And, fo again, in TROILUS and CRESSIDA, pag. 3 2. XLVII. A& 2. Scene 7. Page 391. ing. I will prophefie, he comes to tell me of the Players [.] Mark it [,] False Pointyou Say right, Sir; This ought to be pointed as in Mr. HuGHS's Impreffion. I will prophefie, he comes to tell me of the Players; Mark it : I remember one faid, there was No falts in the lines, to make the Various Rea ding, and O-matter favoury; nor no matter in the phrafe, that might indite million supthe author of AFFECTION; but call'd it, an honest method. I must own, I can have no tolerable Comprehenfion of what is meant here by the Word Affection: HAMLET is speaking of fome Play, to the Stroling Players, which he liked very well, but which did not fo currently go down with the Multitude. One, it seems, who had a Mind to make a Criticism upon it, hints, That there was no Matter in its Phrafe that could indite the Author of Affection. Now, what can Affection, as a Quality with regard to a Play, fignify, but Paffion? Yet furely the Author ly'd. |