'
4: Essay III. 13.
5: See Bacon's Essay 'Of Simulation and Dissimulation,' where
he says that 'dissimulation followeth many times upon secrecy by
a necessity: so that he that will be secret must be a dissembler in
some degree,' &c.
6: The following are Hamlet's modes of asseveration:--
'Angels and ministers of grace,' 'All you host of Heaven,' 'God's
love,' 'God and mercy,' 'God's willing,' 'Help and mercy,' 'God's
love,' 'By St. Patrick,' 'God-a-mercy,' 'By my fay (_ma foi_),'
'S' blood (God's blood),' 'S' wounds,' 'God's bodykins,' 'By'r Lady,'
'Perdy (_Pardieu_),' 'By the rood (Cross),' 'Heavenly guards,' 'For
love and grace,' 'By the Lord,' 'Pray God,' &c.
7: New Shakspere Society (Stubbs, _Abuses in England_), 1879,
p. 131.
8: Act ii. sc. 2.
9: Act ii. sc. i.
10: This description is wanting in the first quarto. The passages
there are essentially different; there is no allusion to Hamlet's
mental struggle.
11: About various allusions and satirical hints in this scene later on.
12: Florio, 21; Montaigne, I. ii.
13: Essay III. i.
14: Isaiah, ch. iii. v. 16.
15: The word 'ecstasy,' which is often used in the new quarto, is
wanting in the first edition where only madness, lunacy, frenzy--the
highest degrees of madness--are spoken of.
16: In the old play their names are 'Rosencroft' and 'Guilderstone.
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