Page 92 - Hamlet: The Cambridge Dover Wilson Shakespeare
P. 92

S T A G E - H I S T O R Y      kxxv

                modesty, but put it in on the second of his twelve nights);
                and this 'sensible, lonely Hamlet,' intense, introspective,
                abstracted, was the first of a  good  many  such  visions  of
                the  character.  On  his first appearance  at  Drury  Lane,
                September  30, 1783, he wore 'a  modern  Court dress of
                rich black velvet, with a star on the breast, the garter and
                pendant  ribbon  of  an  order—mourning  sword  and
                buckler,  with  deep  ruffles;  the  hair  in  powder;  which
                in the scenes of feigned distraction, flowed dishevelled in
                front  over  the  shoulders'  (which  is  very  much  what
                Barry's does in the Garrick  Club picture).  On that occa-
                sion he had  Bensley for the Ghost,  Packer for the King,
                Farren for Horatio, Suettfor the Gravedigger, Baddeley
                for  Polonius,  Mrs  Hopkins  for  the  Queen,  and  Miss
                Field  for  Ophelia.
                  After  his triumphant first season he produced the play
                fairly  often,  but  irregularly.  His  mature  view  of  it  is
                best considered from the productions at Covent  Garden
                in  1803 and onwards, for which he printed his version of
                the play.  Introspective and  melancholy though he was,
                it must  be noticed that all the important  cuts were  made
                in  order  to  keep  the  action  of  the  play  going,  not  to
                emphasize  the  principal  part.  Fortinbras  (some  of
                whose final lines are given to Horatio), the Ambassadors,
                Reynaldo,  the  Dumb  Show,  the  King's  prayer  and
                Hamlet's  soliloquy  about it,  are  clean  gone, and  so are
                Polonius's  advice to  Laertes and the talk  about the  boy
                players. The  King's part is a  good deal shortened;  most
                of the soliloquy,  'O, what a  rogue and peasant  slave am
                I!,' most of the Queen's description of Ophelia's drown-
                ing, and most of Hamlet's last two speeches to his mother
                in the  Closet-scene are  cut  out.  Some  of these  cuts are
                made, no  doubt, to  save time  for  the newly  introduced
                intervals  between  the  setting  of  scenery,  and  some  to
                spare the delicacy which was now beginning to creep in
                between the audience and the poet.
                   Only two can be held to throw light on his conception
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