Page 65 - Hamlet: The Cambridge Dover Wilson Shakespeare
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Iviii               H A M L E T

                also another meaning, still connected with the  breeding
                of horses and  cattle, which would  not be  missed  by an
                Elizabethan audience and  of which  Shakespeare  makes
                use  again  in  The  Tempest  when  the  cynic  Sebastian
                sneers  at  Alonso  because  he  would  not  marry  his
                daughter to a European  prince,
                          But rather loose her to an  African.
                And that  some  shade  of this meaning  was in the  mind
                of  Polonius  is  strongly  supported  by  the  reference  to
                *a farm  and  carters'  that  follows,  according to  Shake-
                speare's  usual  practice  of  sustained  metaphor  noted  in
                section IV  above.  Nor  does  the  chain  of  significance
                cease  there;  for  when  Hamlet  calls  Polonius  a  'fish-
                monger' in line 174, that is to say a bawd or pandar, and
                when he goes on immediately afterwards to compare his
                daughter to 'carrion' flesh and to speak of her  'concep-
                tion,' the words are clearly related  to those  of  Polonius
                just  before  and  are  indeed  hardly  intelligible  without
                them. In  short, 'loose,'  'fishmonger'  and  'carrion'  are
                so linked together as to make it impossible, for  me at any
                rate, to escape the conclusion that Shakespeare intended
                Hamlet to  overhear  Polonius's unhappy jest.*
                   Though  the  rest is  conjecture,  we are  even  yet  not
                entirely  without  Shakespeare's  guidance,  inasmuch  as
                Polonius's words 'Here in the lobby' (coupled, we may
                suppose, with a jerk  of the  thumb  towards  the  inner-
                stage, which lies behind them as they speak) are a direct
                invitation to the  audience to  look thither,  and  thus  are
                almost as good as a stage-direction, marking with practical
                certainty, as I think, the point at which Hamlet comes in,
                and the place of his entry.* The  entry  must, of course,
                seem unpremeditated  and  no impression  must  be  given
                of  deliberate  spying  on  Hamlet's  part;  it  would  never
                do, for example, to let him linger  in  his place of conceal-
                ment. The nine lines between the King's question' How

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