Complete Works of Samuel Johnson

by Samuel Johnson

  I.ii.110 (161,1) And with no less nobility of love] [Nobility, for magnitude. WARBURTON.] Nobility is rather generosity.

  I.ii.112 (161,2) Do I impart toward you] I believe impart is, impart myself, communicate whatever I can bestow.

  I.ii.125 (162,4) No jocund health] The king’s intemperance is very strongly impressed; every thing that happens to him gives him occasion to drink.

  I.ii.163 (164,9) I’ll change that name] I’ll be your servant, you shall be my friend. (1773)

  I.ii.164 (164,1) what make you] A familiar phrase for what are you doing.

  I.ii.167 (164,2) good Even, Sir] So the copies. Sir Th. Hanmer and Dr. Warburton put it, good morning. The alteration is of no importance, but all licence is dangerous. There is no need of any change. Between the first and eighth scene of this act it is apparent, that a natural day must pass, and how much of it is already over, there is nothing that can determine. The king has held a council. It may now as well be evening as morning.

  I.ii.182 (165,3) ‘Would I had met my dearest foe in heaven] Dearest, for direst, most dreadful, most dangerous.

  I.ii.192 (165,5) Season your admiration] That is, temper it.

  I.ii.204 (166,6) they, distill’d/Almost to jelly with the act of fear,/Stand dumb] [W: th’ effect of] Here is an affectation of subtilty without accuracy. Fear is every day considered as an agent. Fear laid hold on him; fear drove him away. If it were proper to be rigorous in examining trifles, it might be replied, that Shakespeare would write more erroneously, if he wrote by the direction of this critick; they were not distilled, whatever the word may mean, by the effect of fear; for that distillation was itself the effect; fear was the cause, the active cause, that distilled them by that force of operation which we strictly call act involuntary, and power in involuntary agents, but popularly call act in both. But of this too much.

  I.iii.15 (169,9) The virtue of his will] Virtue seems here to comprise both excellence and power, and may be explained the pure effect.

  I.iii.21 (169,1) The sanity and health of the whole state] [W: safety] HANMER reads very rightly, sanity. Sanctity is elsewhere printed for sanity, in the old edition of this play.

  I.iii.32 (170,2) unmaster’d] i.e. licentious. (1773)

  I.iii.34 (170,3) keep you in the rear of your affection] That is, do not advance so far as your affection would lead you.

  I.iii.49 (170,4) Whilst, like a puft and reckless libertine] [W: Whilest he] The emendation is not amiss, but the reason for it is very inconclusive; we use the same mode of speaking on many occasions. When I say of one, he squanders like a spendthrift, of another, he robbed me like a thief, the phrase produces no ambiguity; it is understood that the one is a spendthrift, and the other a thief.

  I.iii.64 (172,7) But do not dull thy palm with entertainment/Of each new-hatch’d, unfledg’d comrade] The literal sense is, Do not make thy palm callous by shaking every man by the hand. The figurative meaning may be, Do not by promiscuous conversation make thy mind insensible to the difference of characters.

  I.iii.81 (173,1) my blessing season this in thee!] [Season, for infuse. WARBURTON.] It is more than to infuse, it is to infix it in such a manner as that it never may wear out.

  I.iii.83 (173,3) your servants tend] i.e. your servants are waiting for you. (1773)

  I.iii.86 (173,4) ’Tis in my memory lock’d,/And you yourself shall keep the key of it] That is, By thinking on you, I shall think on your lessons.

  I.iii.107 (174,6)

  Tender yourself mere dearly;

  Or (not to crack the wind of the poor phrase)

  Wronging it thus, you’ll tender me a fool]

  I believe the word wronging has reference, not to the phrase, but to Ophelia; if you go on wronging it thus, that is, if you continue to go on thus wrong. This is a mode of speaking perhaps not very grammatical, but very common, nor have the best writers refused it.

  To sinner it or saint it,

  is in Pope. And Rowe,

  — Thus to coy it,

  To one who knows you too.

  The folio has it,

  — roaming it thus, —

  That is, letting yourself loose to such improper liberty. But wronging seems to be more proper.

  I.iii.112 (175,7) fashion you may call it] She uses fashion for manner, and he for a transient practice.

  I.iii.122 (175,8) Set your intreatments] Intreatments here means company, conversation, from the French entrétien.

  I.iii.125 (175,9) larger tether] Tether is that string by which an animal, set to graze in grounds uninclosed, is confined within the proper limits. (1773)

  I.iii.132 (176,2) I would not, in plain terms, from this time forth,/ Have you so slander any moment’s leisure] [The humour of this is fine. WARBURTON.] Here is another fine passage, of which I take the beauty to be only imaginary. Polonius says, in plain terms, that is, not in language less elevated or embellished than before, but in terms that cannot be misunderstood: I would not have you so disgrace your most idle moments, as not to find better employment for them than lord Hamlet’s conversation.

  I.iv.9 (177,3) the swaggering up-spring] The blustering upstart.

  I.iv.17 (177,4) This heavy-headed revel, east and west] I should not have suspected this passage of ambiguity or obscurity, had I not found my opinion of it differing from that of the learned critic [Warburton]. I construe it thus, This heavy-headed revel makes us traduced east and west, and taxed of other nations.

  I.iv.22 (178,5) The pith and marrow of our attribute] The best and most valuable part of the praise that would be otherwise attributed to us.

  I.iv.32 (178,7) fortune’s scar] In the old quarto of 1637, it is

  — fortune’s star:

  But I think scar is proper.

  I.iv.34 (178,8) As infinite as man may undergo] As large as can be accumulated upon man.

  I.iv.39-57 (179,2) Angels and ministers of grace defend us!] Hamlet’s speech to the apparition of his father seems to me to consist of three parts. When first he sees the spectre, he fortifies himself with an invocation.

  Angel and ministers of grace defend us!

  As the spectre approaches, he deliberates with himself, and determines, that whatever it be he will venture to address it.

  Be thou a spirit of health, or goblin damn’d,

  Bring with thee airs from heaven, or blasts from hell,

  Be thy intents wicked or charitable,

  Thou com’st in such a questionable shape,

  That I will speak to thee. I’ll call thee, &c.

  This he says while his father is advancing; he then, as he had determined, speaks to him, and calls him — Hamlet, King, Father, Royal Dane: oh! answer me. (1773)

  I.iv.43 (180,4) questionable shape] [By questionable is meant provoking question. HANMER.] So in Macbeth,

  Live you, or are you aught

  That man may question?

  I.iv.46 (180,5) tell,/Why thy canoniz’d bones, hearsed in death,/ Have burst their cearments?] [W: in earth] It were too long to examine this note period by period, though almost every period seems to me to contain something reprehensible. The critic, in his zeal for change, writes with so little consideration, as to say, that Hamlet cannot call his father canonized, because we are told he was murdered with all his sins fresh upon him. He was not then told it, and had so little the power of knowing it, that he was to be told it by an apparition. The long succession of reasons upon reasons prove nothing, but what every reader discovers, that the king had been buried, which is implied by so many adjuncts of burial, that the direct mention of earth is not necessary. Hamlet, amazed at an apparition, which, though in all ages credited, has in all ages been considered as the most wonderful and most dreadful operation of supernatural agency, enquires of the spectre, in the most emphatic terms, why he breaks the order of nature, by returning from the dead; this he asks in a very confused circumlocution, confounding in his fright the soul and body. Why, says he, have thy bones, which with due ceremonies have been intombed in death, in t
he common state of departed mortals, burst the folds in which they were embalmed? Why has the tomb, in which we saw thee quietly laid, opened his mouth, that mouth which, by its weight and stability, seemed closed for ever? The whole sentence is this: Why dost thou appear, whom we know to be dead?

  Had the change of the word removed any obscurity, or added any beauty, it might have been worth a struggle; but either reading leaves the sense the same.

  If there be any asperity in this controversial note, it must be imputed to the contagion of peevishneas, or some resentment of the incivility shewn to the Oxford editor, who is represented as supposing the ground canonized by a funeral, when he only meant to say, that the body has deposited in holy ground, in ground consecrated according to the canon.

  I.iv.65 (183,9) I do not set my life at a pin’s fee] The value of a pin. (1773)

  I.iv.73 (183,1) deprive your sovereignty] I believe deprive in this place signifies simply to take away.

  I.iv.77 (184,4) confin’d to fast in fires] I am rather inclined to read, confin’d to lasting fires, to fires unremitted and unconsumed. The change is slight.

  I.v.30 (186,7) As meditation or the thoughts of love] The comment [Warburton’s] on the word meditation is so ingenious, that I hope it is just.

  I.v.77 (188,6) Unhonsel’d, disappointed, unaneal’d] This is a very difficult line. I think Theobald’s objection to the sense of unaneal’d, for notified by the bell, must be owned to be very strong. I have not yet by my enquiry satisfied myself. Hanmer’s explication of unaneal’d by unprepar’d, because to anneal metals, is to prepare them in manufacture, is too general and vague; there is no resemblance between any funeral ceremony and the practice of annealing metals.

  Disappointed is the same as unappointed, and may be properly explained unprepared; a man well furnished with things necessary for any enterprize, was said to be well appointed.

  I.v.80 (190,7) Oh, horrible! oh, horrible! most horrible!] It was ingeniously hinted to me by a very learned lady, that this line seems to belong to Hamlet, in whose mouth it is a proper and natural exclamation; and who, according to the practice of the stage, may be supposed to interrupt so long a speech. (1773)

  I.v.154 (193,5) Swear by my sword] [Here the poet has preserved the manners of the ancient Danes, with whom it was religion to swear upon their swords. WARBURTON.] I was once inclinable to this opinion, which is likewise well defended by Mr. Upton; but Mr. Garrick produced me a passage, I think, in Brantoms, from which it appeared, that it was common to swear upon the sword, that is, upon the cross which the old swords always had upon the hilt.

  II.i.25 (197,8) drinking, fencing, swearing] I suppose, by fencing is meant a too diligent frequentation of the fencing-school, a resort of violent and lawless young men.

  II.i.46 (197,4) Good Sir, or so, or friend, or gentleman] [W: sire] I know not that sire was ever a general word of compliment, as distinct from sir; nor do I conceive why any alteration should be made. It is a common mode of colloquial language to use, or so, as a slight intimation of more of the same, or a like kind, that might be mentioned. We might read, but we need not,

  Good sir, forsooth, or friend, or gentleman.

  Forsooth, a term of which I do not well know the original meaning, was used to men as well as to women.

  II.i.71 (198,5) Observe his inclination in yourself] HANMER reads, e’en yourself, and is followed by Dr. Warburton; but perhaps in yourself means, in your own person, not by spies.

  II.i.112 (200,7) I had not quoted him] To quote is, I believe, to reckon, to take an account of, to take the quotient or result of a computation.

  II.i.114 (201,8)

  it as proper to our age

  To cast beyond ourselves in our opinions,

  As it is common for the younger sort

  To lack discretion]

  This is not the remark of a weak man. The vice of age is too much suspicion. Men long accustomed to the wiles of life cast commonly beyond themselves, let their cunning go further than reason can attend it. This is always the fault of a little mind, made artful by long commerce with the world.

  II.ii.24 (202,2)

  For the supply and profit of our hope,

  Your visitation shall receive such thanks]

  That the hope which your arrival has raised may be completed by the desired effect.

  II.ii.47 (203,4) the trail of policy] The trail is the course of an animal pursued by the scent.

  Il.ii.52 (203,5) My news shall be the fruit of that great feast] The desert after the meat.

  II.ii.84 (204,7) at night we’ll feast] The king’s intemperance is never suffered to be forgotten.

  II.ii.86-167 (205,8) My liege, and Madam, to expostulate] This account of the character of Polonius, though it sufficiently reconciles the seeming inconsistency of so much wisdom with so much folly, does not perhaps correspond exactly to the ideas of our author. The commentator Warburton makes the character of Polonius, a character only of manners, discriminated by properties superficial, accidental, and acquired. The poet intended a nobler delineation of a mixed character of manners and of nature. Polonius is a man bred in courts, exercised in business, stored with observations, confident of his knowledge, proud of his eloquence, and declining into dotage. His mode of oratory is truly represented as designed to ridicule the practice of those times, of prefaces that made no introduction, and of method that embarrassed rather than explained. This part of his character is accidental, the rest is natural. Such a man is positive and confident, because he knows that his mind was once strong, and knows not that it is become weak. Such a man excels in general principles, but fails in the particular application. He is knowing in retrospect, and ignorant in foresight. While he depends upon his memory, and can draw from his repositories of knowledge, he utters weighty sentences, and gives useful counsel; but as the mind in its enfeebled state cannot be kept long busy and intent, the old man is subject to sudden dereliction of his faculties, he loses the order of his ideas, and entangles himself in his own thoughts, till he recovers the leading principle, and falls again into his former train. This idea of dotage encroaching upon wisdom, will solve all the phaenomena of the character of Polonius.

  II.ii.109 (207,1) To the celestial, and my soul’s idol, the most beautified Ophelia] [T: beatified] Both Sir Thomas Hanmer and Dr. Warburton have followed Theobald, but I am in doubt whether beautified, though, as Polonius calls it, a vile phrase, be not the proper word. Beautified seems to be a vile phrase, for the ambiguity of its meaning, (rev. 1778, X, 241, 3)

  II.ii.126 (208,2) more above] is, moreover, besides.

  II.ii.145 (209,6) she took the fruits of my advice] She took the fruits of advice when she obeyed advice, the advice was then made fruitful.

  II.ii.181 (211,9) For if the sun breed maggots in a dead dog,/Being a god, kissing carrion] [This is Warburton’s emendation for “a good kissing”] This is a noble emendation, which almost sets the critic on a level with the author.

  II.ii.265 (214,2) the shadow of a dream] Shakespeare has accidentally inverted an expression of Pindar, that the state of humanity is the dream of a shadow.

  II.ii.269 (215,3) Then are our beggars, bodies] Shakespeare seems here to design a ridicule of these declamations against wealth and greatness, that seem to make happiness consist in poverty.

  II.ii.336 (217,7) shall end his part in peace] [After these words the folio adds, the clown shall make those laugh whose lungs are tickled o’ th’ sere. WARBURTON.] This passage I have omitted, for the same reason, I suppose, as the other editors: I do not understand it.

  II.ii.338 (217,8) the lady shall say her mind freely, or the blank verse shall halt for’t] The lady shall have no obstruction, unless from the lameness of the verse.

  II.ii.346 (217,9) I think, their inhibition comes by the means of the late innovation] I fancy this is transposed: Hamlet enquires not about an inhibition, but an innovation; the answer therefore probably was, I think, their innovation, that is, their new practice of strolling, comes by
the means of the late inhibition.

  II.ii.352-379 (218,1) Ham. How comes it? do they grow rusty?] The lines marked with commas are in the folio of 1623, but not in the quarto of 1637, nor, I suppose, in any of the quartos.

  II.ii.355 (218,2) cry out on the top of question] The meaning seems to be, they ask a common question in the highest notes of the voice.

  II.ii.362 (218,3) escoted] Paid.

  II.ii.362 (218,4) Will they pursue quality no longer than they can sing?] Will they follow the profession of players no longer than they keep the voices of boys? So afterwards he says to the player, Come, give us a taste of your quality; come, a passionate speech.

  II.ii.370 (219,6) to tarre them on to controversy] To provoke any animal to rage, is to tarre him. The word is said to come from the Greek. (1773)

  II.ii.380 (219,8) It is not very strange, for mine uncle is king of Denmark] I do not wonder that the new players have so suddenly risen to reputation, my uncle supplies another example of the facility with which honour is conferred upon new claimants.

  II.ii.412 (220,2) Buz, buz!] Mere idle talk, the buz of the vulgar.

  II.ii.414 (220,3) Then came each actor on his ass] This seems to be a line of a ballad.

  II.ii.420 (221,6) For the law of writ, and the liberty, these are the only men] All the modern editions have, the law of wit, and the liberty; but both my old copies have, the law of writ, I believe rightly. Writ, for writing, composition. Wit was not, in our author’s time, taken either for imagination, or acuteness, or both together, but for understanding, for the faculty by which we apprehend and judge. Those who wrote of the human mind distinguished its primary powers into wit and will. Ascham distinguishes boys of tardy and of active faculties into quick wits and slow wits.

  II.ii.438 (221,8) the first row of the pious chanson] [It is pons chansons in the first folio edition. POPE.] It is pons chansons in the quarto too. I know not whence the rubric has been brought, yet it has not the appearance of an arbitrary addition. The titles of old ballads were never printed red; but perhaps rubric may stand for marginal explanation.