may not be said to Horatio at all, but to one of the players who may be hanging about the stage waiting for instructions after the sudden interruption of the performance. He would then retire, and send some of his fellows with recorders. In French's acting-edition the words, "To withdraw with you," are altered to "So withdraw with you," after which comes the rather curious stage-direction, "_Exeunt_ Horatio _and_ Recorders." There are no such directions in the quartos or folio. A recorder is not a person, but a musical instrument. From indications in the first quarto, Horatio should remain on the stage until the end of the scene, for Hamlet says, "Good-night, Horatio," to which Horatio replies, "Good-night unto your lordship." The third scene in the Globe edition is the second scene in the acting-version. French's edition contains the King's long soliloquy, and omits Hamlet's entrance. Cumberland's edition omits both. I think that to omit Hamlet's entrance in this scene is to interfere with Shakespeare's dramatic construction. Its omission breaks an important link between the closet scene and the play scene, and prevents the audience fully realizing the consequences of Hamlet's clemency. Shakespeare shows us Hamlet wishing to take the King's life at three different periods during the play, but the King's craft and Hamlet's conscience stand in the way; for the Ghost's word must first be challenged; then the mother's wishes must be respected; while the King's prayers must not be interrupted; and when the next opportunity occurs the wrong man is killed. This is the sequence of the story, and it should not be broken; even the compiler of the first quarto knew this, for all three incidents are made prominent in his text. But our stage Hamlets try to tone down the inconsistencies and imperfections of the character; they exploit his sentiments, but do not show his inclinations. Hamlet wants to kill the King, notwithstanding that his sensitive nature instinctively rebels against the deed. A student, a controversialist, and a moralist, what has he to do with revenge or murder? But Hamlet, regardless of his own temperament, thinks only of his duty to his father. Passing now to the third scene, which is the fourth in the Globe edition, I find that after the exit of the Ghost no less than 52 lines have been cut out, and their omission has caused actors to introduce stage-business which is contradictory to the text. Many Hamlets show an emotional tenderness towards the Queen which would be quite out of place if all the text were spoken. Look at the fierce satire expressed in lines 190 onwards! Hamlet in his self-constituted office "as scourge and minister" cannot caress his mother or hold her in his arms as is now done by actors. However much she may solicit his sympathy, his reply is: "I must be cruel only to be kind." I should like to see inserted in the acting-edition the fine lines of Hamlet to the Queen--