LIST OF SUBSCRIBERS. (*) Denotes the Members of the Committee. (+) Late Members of the Committee. THE REV. THE MASTER, D.D. THE REVEREND STEPHEN PARKINSON, B.D., President. Fellows of the College and Masters of Arts: † Abbott, Rev. E. A., M.A. Adam, Rev. S. C., M.A. Adams, W. G., M.A. Anstice, Rev. J. B., M.A. Atlay, Rev. J., D.D. Attenborough, RevW F,м.A. +Baily, W., M.A. Barlow, Rev. W. H., M.A. Barnacle, Rev. H., M.A. Bateman, Rev. A., M.A. Bateman, Rev. J. F., M.A. Beach, Rev. T., M.A. Beebee, M. H. L., M.A. Bennett, Prof. W. S., MUS.D. Besant, W. H., M.A. +Beverley, H., M.A. Bigwood, J., M.A. Bompas, H. M., M.A. Bonney, Rev. T. G., B.D. +Bowling, Rev. E.W., M.A. Brodribb, Rev. W. J., M.A. Brown, Rev. J. C., M.A. +Bushell, Rev. W. D., M.A. Butterton, Rev. G. A., D.D. Butler, Rev. T., M.A. Catton, A. R., M.A. +Cherrill, Rev. A. K., M.A. Cheyne, C. H. H., M.A. Churchill, S. W., M.A., Clark, Rev. J. H., M.A. Clifton, Prof. R. B., M.A. Coombe, Rev. J. A., M.A. Courtney, L. H., M.A. Creswell, Rev. S. F., M.A. Davies, Rev. J. B., M.A. Day, Rev. H. G., M.A. Denton, Rev. J., M.A. Dinnis, Rev. F. H., M.A. Dixon, Rev. R., M.A. Drew, Rev. G. S., M.A. Durell, Rev. J. V., M.A. Eastburn, Rev. C. F., M.A. +Ebsworth, Rev.J. W., M.A. Evans-Gwynne, Rev. G. F. J. G., M.A. Evans, Rev. J. D., M.A. Evans, Rev. J. H., M.A. Farman, Rev. S., M.A. Ferguson, R. S., M.A. Francis, Rev. John, M.A. Freeman, Rev. A., M.A. Fynes-Clinton, Rev. O., M.A. Gorst, Rev. P. F., M.A. Adams, G. H. Alderson, Rev. E. A., B.A. Allen, C. F. E. Alexander, R. G. Almack, W., B.A. Andrews, Rev. F., B.A. Gorst, J. E., M.A., M.P. †Graves, Rev. C. E., M.A. Gwatkin, Rev. T., M.A. Harpley, Rev. W., M.A. +Hart, H. G., B.A. Hartley, J., LL.M. Harvey, Rev. B. W., M.A. Haslam, J. B., B.A. Haviland, Rev. A. C., M.A: Hawes, Rev. R., B.D. Hedges, Rev. G. N., M.A. Heppenstall, Rev. F., M.A. +Hiern, W. P., M.A. Hiles, Rev. R., M.A. Hiley, Rev. S., B.D. Hilleary, F. E., M.A. Hoare, T., M.A. Hockin, C., M.A. Holmes, Rev. A., M.A. Holmes, C. F., M.A. Horne, B. W., M.A. Hudson, W. H. H., M.A. Ingram, Rev. D. S., M.A. Jackson, Rev. G., M.A. Jackson, Rev. A., M.A. Jones, Rev. C. A., M.A. Kent, F. W., M.A. Kitchen, Rev. J. L., M.A. +Lee-Warner, H., M.A. Lewty, Rev. T. C., M.A. Liveing, Prof. G. D., M.A. +Ludlow, H., M.A. Lunn, Rev. J. R., B.D. Lupton, Rev. J. H., M.A. Lyall, Rev. F. J., M.A. Main, P. T., M.A. Marrack, J. R., M.A. Marshall, A., M.A. Marten, A. G., M.A. Mason, Rev. P. H., M.A. +Mayor, Rev. J. B., M.A. Mayor, Rev. J. E. B., M.A. Mc Cormick, Rev. J., M.A. Merriman, Rev. J., M.A. Mills, W., M.A. +Moss, Rev. H. W., M.A. Newton, Rev. H., M.A. Newton, T. H. G., M.A. Newton, Rev. W., M.A. Newton, Rev. W. A, M.A. Palmer, E. H., B A. (Sec.) +Pearson, Rev. J. B., M.A. Peckover, Rev. E. G., M.A. Pennant, P. P., M.A. Percy, Rev. W. I. E., M. A. B.A. Snowdon, Rev. J., M.A. +Stanwell, Rev. C., M.A. Steele, R. B., M.A. Tarleton, Rev. W. H., M.A. +Taylor, Rev. C., M.A. Bachelors and Undergraduates: Bakewell, J. W. Barrett, W. F., B.A. HAMLET: AN ANALYSIS. Do not know whether an apology is necessary for this addition to the already extensive stock of Hamlet literature. The analyses of Hamlet, that I have met with, are all in some marked way incomplete. The best of the number appeared in Vol. 79 of The Quarterly Review. It unhappily covers only a fraction of the play: otherwise, though I dissent from several of the opinions of the writer, the following pages would not have been printed. But as regards its systematic examination of the minutest touches of the poet, as well as of the scenes as a whole, it is a model of intelligent criticism. I have learnt much from it-and, in one or two scenes, have used it liberally. I have also read and, in a few passages, referred to the late Dr. Conolly's Study of Hamlet and Dr. Bucknill's Essays on the Mad Folk of Shakespeare. These writers both write specially on the problem of Hamlet's madness, as a question of medical psychology. The former analyses the whole play from this point of view-the latter, only the scenes in which Hamlet or Ophelia appear. Both therefore are, for an attempt to get at the whole of the poet's meaning, somewhat defective. This defect I have endeavoured to supply. I have used such helps as have been accessible to me in the shape of notes, analysis, or comment, but only as a preparation for my task in all that I have written I have given my own impressions, derived from a study of the simple text. Some of the readers of The Eagle may possibly be VOL VI. L interested in the circumstances which caused this analysis to be written. About a year ago I determined to give systematic English lessons a place in the ordinary work of my form. I began with Hamlet. The ground was new; and, with the usual fate of the English schoolmaster, I had to learn empirically how English should be taught. The great shoal to be avoided by one whose experience had been principally of Classical tuition was the giving of undue prominence to the expression of the thought, rather than to the thought itself. To avoid this, I gave my pupils from time to time an analysis of the scenes last read-pointing out their bearing on the developement of the characters of the play, and endeavouring with the addition of oral explanation to give them some idea of them as parts of a whole work of art. A sketch of the history of the play, of the story of Hamlet from which it is taken, with an outline of the principal characters, had already been put into their hands. To reprint it here would make this paper unnecessarily long. Full particulars may be found in Gervinus (Shakespeare Commentaries), and in the prolegomena to Herr Karl Elze's excellent German edition of the play. The Historie of Hamblet is reprinted in Mr. Collier's Shakespeare's Library. I may add that the experiment was eminently successful. R. W. TAYLOR. ACT I. Scene I. Francisco, Bernardo, and Marcellus are three soldiers. The two latter have already on a former occasion seen an apparition of the "majesty of buried Denmark," while keeping guard upon the battlements, and Bernardo comes to his post full of agitation and apprehension, which betrays itself in his first words. His reverie is interrupted by the sight of Francisco, and he does not wait to be challenged; but, with a start, inquires-"Who's there?" Francisco knows nothing of the Ghost, but notices Bernardo's unwonted punctuality; yet even he has some boding that all is not right: he is "sick at heart." Bernardo anxiously asks whether he has had quiet watch; and, parting, bids him hasten on his comrades, should he meet them. He cannot bear to be left to watch alone, and he shows himself so rejoiced to see them when they come, that Marcellus fancies that "this thing" must have appeared again. He is specially anxious that Horatio, the scholar, should be there to exorcise the Ghost. For companionship he must talk, but he can talk only on the one subject; he begins his story, when the apparition crosses the stage. It disappears, and Bernardo appeals to Horatio whether this is not more than fantasy. He takes no part in the conversation that follows, save by again recurring to the portentous figure, which comes armed through their watch. This conversation is of some interest. The description of Hamlet's father and his combat with Norway, prepares us for Hamlet's subsequent praise of him, and strikes the keynote of the duty, (a very marked duty to a Norseman of the tenth century) of avenging such a father. The preparations for war, the romage in the land, are signs of coming trouble, the dread of which is deepened in these soldiers by this strange apparition. The Ghost re-enters; and Horatio, who has to some extent recovered his presence of mind, speaks more boldly to it. But again it departs without any reply. The day breaks-the health-giving day, which scatters all the phantoms of the night, and brings refreshing light to those who are weary of the darkness. Such at least is its soothing effect upon Horatio, and the linesBut look, the morn in russet mantle clad Walks o'er the dew of yon high eastward hill, are a good instance of artistic repose. In Scene 2, we are introduced to the king, who is holding his first court since his accession and marriage with Gertrude. The assembled courtiers are those who, with Polonius at their head, have forwarded his election Whether there were others who did not welcome the change so readily we do not know: young Fortinbras' supposal that the state was disjoint, might lead us to think there were, and we have further traces of a widespread disaffection in the readiness with which Laertes is afterwards welcomed as king; but such ill-affected persons at any rate find no place in this assembly, and their existence is entirely ignored. The language of the king prepares us for what is to come. In all decorum he must say something at this first meeting of the changes which have brought about his accession; but his words of grief are cold and forced, and the subject is speedily dismissed. The ambassadors to Norway receive their instructions, and we are introduced to Polonius, the head, so to speak, of the Claudian party. The slight pompousness of his words is, however, the only thing here which brings out his character. And naturally, it is in Hamlet that the interest of the scene centers. And it is noteworthy that his first utterances proclaim that trifling and refining habit of mind, of which we shall have so many specimens. The play on kin and kind, sun and son, the almost euphuistic verbiage of the speech beginning, "Seems, madam! nay, it is," are all instances of this. The king's reply is really more a soliloquy than an address-an attempt rather to blunt the dull edge of remorse in himself, than to bring Hamlet to another mind : Why should we, in our peevish opposition, Take it to heart? His bodings are lulled by Hamlet's consent to remain at Elsinore, so accepting the position of Our cousin, chiefest courtier and our son. His departure to Wittenberg might be fraught with more serious consequences. Hamlet's first soliloquy is full of instruction, not so much as the sign of amind whose balance is violently disturbed, but as a true portrait of his character. He shows himself as the man of contemplation rather than of action for this criticism of Coleridge and |