Shakespeare, William, 1564-1616 -- Stage history; Theater -- England
The fifth scene, Globe edition, is the second scene in French's, and the
fourth in Cumberland's. I think it would add to the dignity of Horatio's
character if, as directed in the second quarto, the Queen and Horatio
entered with "a gentleman," who brings news of Ophelia's mental
derangement. Horatio is not a servant, nor even a gentleman-in-waiting;
but a visitor from Wittenberg. The Queen, having lost her son, would
naturally seek the society of his bosom friend. The stage-direction in the
first quarto for Ophelia's entrance should be noticed; I should like to
see it inserted in the acting-edition: "_Enter_ Ophelia _playing on a
lute, with her hair hanging down, singing_." This, no doubt, is how she
appeared on Burbage's stage. I can imagine Ophelia entering as if she were
wandering about the corridors of the palace singing and muttering to
herself unconscious of what she was saying, where she was going, or to
whom she was speaking; the imbecility of a pretty young girl who had
been, at one time, fond of her songs as of her sewing. In the
acting-edition the stage-direction for the second entrance describes her
as being "_fantastically dressed with straws and flowers_," but there is
no similar direction in the quartos or folio. Ophelia has very little time
allowed her to go anywhere, and certainly not beyond the palace precincts,
where she might not find straws or daisies. Shakespeare may have intended
the flowers to be imaginary ones to which she refers that the audience may
anticipate her ramble beyond the palace to make garlands in the meadows.
Songs were rarely sung on the stage unaccompanied, and it must be
remembered that Ophelia was a court lady, more accustomed to handle the
lute than to pick wildflowers. The third scene of the fourth act, being
the fifth scene in the Globe edition, I have never seen acted on the
stage. The omission is, perhaps, not important, except that the spectators
are left ignorant as to the cause of Hamlet's return. From the fourth act
303 lines have been omitted in the acting-version.
Public-domain text, read in full here on John Shaqi.
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