This much-abused quarto has 557 lines less than the modern acting edition, of which 254 are not in that edition, although they are in the second quarto (or rather have a meaning equivalent to lines in the second quarto), showing clearly that it is possible to shorten the text in more ways than one. The first quarto comes nearer to Shakespeare's dramatic conception of the play than the modern stage version, because the latter, by omitting some of the persons represented, and also many of the lines which reveal the weaker side of Hamlet's character, have altered the story of the play, and placed the part of Hamlet in a different aspect to the one conceived by the author. I will now compare French's acting-edition of "Hamlet," scene by scene, with the Globe edition. The Globe edition contains all the lines of the second quarto and the folio. It adheres to the text, but not to the stage-directions. For reading purposes, perhaps, the alterations which have been made in the latter may be justified to some extent as a necessity, yet for the acting-edition it would have been better to copy the originals. There are alterations made to the stage-directions in the first scene. Horatio, Marcellus, and the Ghost are shown to enter a line later in the Globe edition than is marked in the quarto or folio. But the attention of an audience is better sustained if the entrances of characters, especially of the Ghost, is not anticipated, and also if the dialogue is not interrupted by pauses for entrances and exits. In comparing the text, I find that lines 69 to 125 of the Globe edition are omitted in the acting-edition. But these lines explain to the audience why Marcellus, Bernardo, and Horatio are engaged in this same "strict and most observant watch." Marcellus and Bernardo are not common sentries. They are gentlemen and scholars, who are on duty as soldiers for this particular occasion. Lines 140 to 142 I should also like to see inserted, because they are needed to explain the words which follow-- "We do it wrong, being so majestical, To offer it this show of violence." On the stage these words are spoken, but no violence is shown towards the Ghost. Besides, the business of striking at the Ghost is a fine invention of the author to assist the imagination to realize it is a spirit. I am sorry lines 157 to 165 are omitted, because not only are they beautiful in themselves, but also appropriate, for they help to give solemnity to the scene. The omission of the last four lines of the scene leaves it unfinished. Altogether seventy-one lines have been cut out of the first scene, but the first quarto retains most of them.