66 here to remark. When she finds that Polonius is going to blame her, for her too yielding confidence, she instantly drops the cold word of affection," and introduces the stronger word of "love"-telling him he must be in earnest, as it is 66 love in honourable fashion." The second thing, is, that she joins her replies together And hath given countenance, &c. &c. Thus making it appear as if she did not heed (or could not heed) any word which her father might interpose, and as if she wanted to press on him another argument which her girlish simplicity thought would be conclusive. I am perfectly delighted with these exquisite strokes of nature. I here caution any vile actress from mangling these two replies, by pronouncing them coldly, and by repeating the first, without a mixture of surprize, which is difficult to delicately catch. I had the happiness of seeing this character performed once, (and but once, in Ireland,) and it was executed so barbarously, that the only thing I recollect respecting poor Ophelia, was—that it was performed by a woman. But to proceed. Polonius still remains unbelieving. All her arguments all her woman's rhetoric cannot shake the crafty experience of the old man. He there fore openly tells her, to give neither "words nor talk to the Lord Hamlet;" and desires her to, "Look to 't." The reply which she makes, still preserves her character. Had she once more attempted to remonstrate with her father, the interest of the character would be taken away, for it would have evinced her to be stiff and headstrong. Mark the gentle reply. I shall obey, my Lord. There is both sorrow and compliance expressed in these five words. He also correctly takes her off the stage, as if to let her in quiet feel the check which had been so suddenly given to her fond hopes. Here then is the entire character of Ophelia (at least to one who has ear and soul for strokes of nature) completely developed in one scene. I know nothing more gentle-more eloquent more delightful-more fraught with the first tremblings of love and the trusting confidence of woman, than these single but preeminent touches of skill and mastery. All her replies are short-and all in character. How beautiful is the sister the daughter-and the lover preserved throughout." How winning and how gentle how tender and how fond-how submissive, and how perfectly woman, does she here appear. The reader will perhaps require to look over it again. Like a beautiful and finished painting though, its master touches can never tire. I again introduce her. senses. She appears in the palace with all the lords and ladies of the court. Here her gentleness is again apparent, and her only remark is, " Madam, I wish it may," to the queen who hopes that by her interference, Hamlet may again resume his The king and queen, &c. &c. retire. Ophelia remains. Hamlet enters and speaks that noble soliloquy, "To be or not to be." Ophelia comes forward, and requests of Hamlet to take back from her those remembrances, which in hours of love, he had bestowed on her, Hamlet (to carry on his plot) says he never gave her any thing, Her reply to this sudden declaration, is full of suavity and fondness. My honoured Lord, you know right well you did; And with them words of so sweet breath compared, As made the things more rich.* Their perfume lost Take these again; for to the noble mind I have altered the punctuation of this line putting a period at "rich.". If the colon or semicolon are retained; it does not keep the words and sense so distinct. Rich gifts wax poor, when givers prove unkind. Mark here, the love of " my honoured Lord ”— the assuring testimony of, "You know right well"—and the fond compliment of, "words of so sweet breath compared." This appears easy to deliver. It is difficult. The difficulty lies in the first and last lines, Hamlet proceeds to partly moralize with her, and draws some distinction between beauty and honesty, which she beautifully answers in one line. He then concludes by the startling words, "I did love you once." She instantly replies, Indeed, my Lord, you made me believe so. This is excessively natural. The force of the line lies in the word" indeed:" and the person who repeats it, should notice this, taking care to also lay an emphasis on the word "made." And yet this emphasis should not be so distinct as that on the word "indeed." If I could so express it, I would say, it should be mezzo forte. It is these finished and delicate modulations of accent and manner that mark the true actor or actress. Hamlet (still carrying on his plot) now breaks out into more decisive language, and tells her, "he did not love her." How simple, but how touching is her reply to the fatal declaration which warps her brain- "I was the more deceived!" There are volumes in this, and it is consequently the most difficult line in this scene to deliver. She then exclaims, when she sees him using such untoward words and gestures Oh help him you sweet* heavens ! P He again rallies her, and again her love breaks out for him in prayer Oh heavenly powers restore him! Hamlet runs off, after again speaking to her in disjointed sentences, and the words which she then utters are full both of love and sorrow. Oh, what a noble mind is here o'erthrown ! The expectancy and rose of the fair state, The glass of fashion and the mould of form, The observed of all observers, quite, quite down! And I, of ladies most deject and wretched, t That sucked the honey of his music Vows, Now see that noble and most sovereign reason, Like sweet bells jangled, out of tune and harsh, Oh, woe is me! * *** The reader will please mark the force of "sweet.” I cannot omit a word even in this divine bard. |