Hamlet, C1v

Editor's note:

This page holds the ending of what became Scene 1.2 and the beginning lines of what became 1.3 once the play was expanded and divided into acts and scenes. The first part of the page closes the scene in which Hamlet is told that the ghost of his father has appeared to Horatio and other guards. In this exchange, Hamlet’s doubt surrounding the existence of his father’s ghost gives way to suspicion surrounding the state of Denmark and the king’s death. The far shorter segment at the bottom of the page was originally the start of a dialogue between Laertes and Ophelia, in which Laertes’ voices his skepticism regarding Hamlet’s affections for Ophelia. This page only contains Laertes’ opening monologue.

This editorial version of the text preserves the opening conversation between Hamlet, Horatio, and Marcellus. However, in order to most effectively explore the function of distrust as a motif on this page, Hamlet’s ending soliloquy and Laertes’ opening monologue have been rearranged and reshaped into a dialogue. Laertes is commonly recognized as a foil to Hamlet’s character, and this dialogue can thus be read as an argument between two sides of the same coin–the criticisms Laertes makes of Hamlet become closely aligned with Hamlet’s own subliminal insecurities and self-critiques. Several changes to phrasing were made in order to preserve grammatical and metrical integrity, as well as to fully accentuate the distrust that characterizes many of Hamlet’s interactions and relationships.

Along with the threads of distrust that are woven throughout this page, the language of nobility is intrinsic to the interactions between characters. Hamlet’s precarious position as Prince of Denmark, Laertes’ elevated social standing, and Horatio’s ethos as a scholar are all layers of status that affect the interactions between characters. The language invoked on the page thus marks the often tenuous relationship between prestige and trust that strengthens or taints the relationships between characters.

This editorial edition is aimed at students who have a familiarity with the text of Hamlet and are working towards a deeper understanding of its characters and themes. Presenting the text in a different format from how students would regularly see the scenes encourages more creative and unique analysis in their own work. Spelling and grammar have been modernized for clarity.

Highlighting Key:

The language of distrust
The language of nobility
Creative changes

Ham. And fixed his eyes upon you?

Hor. Most constantly.

Ham. I would I had been there.

Hor. It would 'a' much amazed you¹.

Ham. Yea, very like, very like ². Stayed it long?

Hor. While one with moderate pace

Might tell a hundred.

Mar. Oh, longer, longer.

Ham. His beard was grizzled, no?

Hor. It was as I have seen it³ in his life,

A sable silver ⁴.

Ham. I will watch tonight⁵. Perchance 'twill walk again.

Hor. I warrant it will.

Ham. If it assume my noble father's person,

I'll speak to it, if hell itself should gape

And bid me hold my peace. Gentlemen,

If⁶ you have hither concealed this sight,

Let it be tenable in your silence⁷ still,

And whatsoever else shall chance tonight,

Give it an understanding but no tongue.

I will requite your loves. So fare you well.

Upon the platform 'twixt eleven and twelve

I'll visit you.

All. Our duties to your honor.

Exeunt all but Hamlet. Enter Laertes and Ophelia⁸ .

Ham. Oh, your loves, your loves, as mine to you.

Laert. My necessaries are inbarked. I must aboard,

Ham. Farewell.--My father's spirit in arms!

Laert. [to Hamlet]⁹ Now ere I part, mark what I say to thee.

Ham. Well, all's not well. I doubt some foul play¹⁰.

Laert. I see Prince Hamlet¹¹ makes a show of love¹².

Ham. How now?¹³ Sit still, my soul. Foul deeds will rise,

Though all the world o'erwhelm them, to men's eyes.

Laert. Beware, Ophelia, do not trust his vows.

Ham. Would the night were come!

Laert. Perhaps¹⁴ he loves you now, but see his eyes¹⁵

turn inward to the self he doth despise¹⁶.

It is established that Horatio is an educated, worldly man. Thus, his implied amazement or shock carries more weight that that of, for example, Marcellus, whose past is unknown but has presumably spent much of his life as a knight of Elsinore. Doubly, this line emphasizes the kinship between Horatio and Hamlet because it suggests that he knows Hamlet's mind intimately. Though he may not be as rich or politically powerful as Laertes, his favor in the eyes of Hamlet lends him influence all the same.
The repetition of "very like" shows the shock that Hamlet feels receiving the news of his father's apparition. A assertion of great magnitude will need great evidence.
Horatio's admittance to knowing the king's likeness is significant in itself; having known the king well enough to identify his appearance indicates a certain status of person.
The choice of "sable silver" instead of gray/white to describe the color of the king's bread is a combination of the imagery of "sable" a small mammal which is often used for its fur, and "silver" a precious metal. Both associated with the fashions of the wealthy.
The only account Hamlet trusts is his own. Taking into account our interpretive ending to the scene, this line not only hints at Hamlet's distrust of his peers, even those closest to him, but also at the insecurities he holds within himself regarding his position of power.
Hamlet is wary of their allegiances and entertains the possibility that they have already informed others about the ghost.
The word "tenable" refers to an ability to hold and defend from attack. Given Elsinore's isolated and fortified nature, the invocation of this word only heightens the tension that Hamlet feels surrounding his secrets. The implication here is that there is attack to be had, and Hamlet is constantly playing defense again those who surround him.
In the source text, Hamlet alone stays onstage to perform a short soliloquy. After he exits, Laertes and Ophelia enter. This editorial version creates literal conversation through the two mens' speech, and eliminates the feel of a scene break that is present in the source text.
This line was originally spoken to Ophelia, so this editorial addition of the stage direction thus deflects the dialogue back onto Hamlet.
In this context, "I doubt some foul play" takes a sardonic tone. Instead of referring to his father, it mocks Laertes' severity in the previous line, and thus attempts (unsuccessfully) to deflect Laertes' misgivings about his character.
Calling attention to Hamlet's title shows why Laertes is suspicious of his affections, Hamlet outranks them and therefore has license to be careless with his courtships. It also calls attention to the stagnancy of Hamlet's position; where he by rights should have been king, he remains a prince. This subtle indication of Hamlet's powerlessness over his own situations contributes to Laertes' later statement that Hamlet would never be able to marry Ophelia even if wanted to.
A "show" is entertaining but fiction nonetheless, and therefore Laertes' disapproval and distrust of Hamlet's affection is epitomized by this line. It also calls into question his respect for Hamlet's title, as mocking/criticizing the Crown Prince of Denmark is a crime he commits freely.
Changed from the original "Till then" to preserve meter without disrupting the conversation between Hamlet and Laertes as we have presented it here.
Even the word "perhaps" conveys the uncertainty surrounding Hamlet's actions, and his suspected but unconfirmed duplicity.
The word is changed from the original "tongue" to "eyes" to create stronger connection between Hamlet and Laertes' rhyming couplets at the end of the scene. "Men's eyes" thus relate to Hamlet's sight, and one interpretation can then be that the "foul deeds" rising to Hamlet's eyes are coming from within him.
This final line marks the most drastic change to this edition. The final line of the section creates a rhyming couplet to match the one that Hamlet speaks a few lines before. Using the word "eyes," as Hamlet does in his couplet, Laertes' words turn Hamlet's distrust back on himself, the final line gesturing with finality at the the prince's inner turmoil and insecurity.

Editorial note

Notes