Page 87 - Hamlet: The Cambridge Dover Wilson Shakespeare
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hxx                H A M L E T

                them, saying, "By heaven, I'll  make a ghost of him that
                lets me."  So much  for  them! Then  he turns  his sword
                                 "
                toward the  Ghost: Go  on, I'll  follow thee";  and  the
                Ghost  goes  off.  Hamlet  remains standing still, with his
                sword  held out  before  him, so  as to gain  more distance,
                and at last, when the Ghost is out of sight of the audience,
                he begins to follow  slowly, now stopping, now going on
                again, but always with his sword held out before him, his
                eyes fixed on the  Ghost,  his hair  dishevelled,  breathless
                still, until  he too  passes  out  of  sight  behind  the  scenes.
                You  can  easily  imagine  what  loud  applause  this  exit
                wins.  It  begins  as  soon  as the  Ghost  is  gone,  and  lasts
                until Hamlet likewise disappears'—lasts, as Davies would
                add, until they  both appeared  again.
                  One  of Johnson's  many  sneers  at  his  beloved  Davy
                implied  that  he overacted this terror.  'Hie  et Ubique'
                complained of that long stretch of silent 'business'  before
                he began  'Angels and ministers of grace,'and found him
                too violent with  Horatio  and  Marcellus;  and  even the
                devoted  Lichtenberg  blamed  him for  acting his feelings
                too  long  in  silence  before  he  began to  reveal  them  in
                'O  all you  host  of  heaven.'  But  -his triumph  seems  to
                have  lain  in  first  arousing  terror  and  then  softening  it
                with  the  filial  love which  he  made the  keynote  of  the
                character.  Further  details  have  been  preserved. When
                                  '
                he came on to speak To  be or not to be,' he was already
                feigning distraction, his hair hanging about his shoulders,
                one  black  stocking  down, with the  red  garter  showing.
                With  his  chin  on his right hand  and  his  left  hand sup-
                porting his right elbow, he stood looking sideways down
                on  the  ground  and  began  very  quietly,  the  audience
                listening as reverently as if it was in church.  In the scene
                with  Ophelia,  some  held  him to  be  too  boisterous  and
                harsh, where  Barry  was  much  gentler  and  graver;  and
                again in the scene with his mother he was occasionally too
                rough  and  loud,  where  both  Wilks  and  Barry  always
                preserved  'the  delicacy  of  address  to  a  lady.'  He  is
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