In this book Shakespeare’s devoted admirers receive a valuable present. The first unbiased reading has given me a wonderful impression. It was the old familiar masterpiece again, its action and movement in no way altered, but the most powerful and effective principal passages left untouched, just as they came from the original hand of the genius. The play was exceedingly easy and delightful to read. One thought one’s self in a wholly familiar world, and yet felt something peculiar which could not be expressed, and this induced one to give the play a closer consideration, and indeed a stricter comparison with the old. Hence these few random remarks. First of all, it was noticeable that there was no locality given, nor was there information about the stage-setting, and just as little about the division of the acts and scenes. All this was represented by “Enter” and “Exit.” The imagination was allowed free play. One saw again in his mind’s eye the old primitive English stage. The action took its impetuous course of life and passion, and one did not take the time to think of such things as places. In the more recent familiar revision we find the division into acts and scenes, and locality and stage-setting are given. Whether these are by him or by later stage-managers, we leave undecided here. The Polonius of the second revision is called Corambis in the first, and the rôle appears through this little circumstance to take on another character. The unimportant supernumerary rôles were first designated merely by numbers, but here we find them endowed with honor and significance through being given names. We are thus reminded of Schiller, who in _Wilhelm Tell_ gave names to his peasant women and some words to speak, so that they became more acceptable rôles. The poet does the same here with guards and courtiers. If in the first edition we find a loosely written syllabication, in the later one we find it better controlled, though always without pedantry. Rhythmic passages are divided into five-foot iambics, though half and quarter verses are not avoided. So much for the external expression. A comparison of the inner connections and relations will be of profit to any admirer who gives the work an individual study. Here are only a few suggestions. Passages, which in the first version are only lightly sketched by the hand of genius, we find more deliberately executed, and in a way that we have to approve and admire as necessary. We come, too, upon pleasing amplifications, which may not be absolutely necessary, but which are highly welcome. Here and there we find hardly perceptible yet vivid aspersions, connective passages, even important transpositions to make a highly effective speech,--everything done with a master-hand, with intelligence and feeling, everything thrilling our emotions and clarifying our insight.