58
HAMLET
[ACT II.
By indirections find directions out:[b 1]
So, by my former lecture and advice,
Shall you my son. You have me, have you not?
Rey. My lord, I have.
Pol. God be wi' you; fare you well.[a 1]
Rey. Good my lord! 70
Pol. Observe his inclination in yourself.[b 2]
Rey. I shall, my lord.
Pol. And let him ply his music.[b 3]
Rey. Well, my lord.
Pol. Farewell! [Exit Reynaldo.
Enter Ophelia.
How now, Ophelia! what's the matter?
Oph. Oh, my lord,[a 2] my lord, I have been so affrighted! 75
and in Apollo Shroving: "See how fortune came with a windlace about again."
assays of bias] a metaphor from bowls, the player sending his bowl towards the jack in a curve, knowing that the bias—the oblique line of motion—will bring it right.
- ↑ 66. By . . . out] By indirect means find out direct indications.
- ↑ 71. Observe . . . yourself] Johnson: "Perhaps this means in your own person, not by spies." Clar. Press: "Possibly it means conform your own conduct to his inclinations." Hanmer and Warburton read "e'en yourself." "In yourself" may possibly mean in regard to yourself.
- ↑ 73. music] Vischer explains: "His son may gamble, drink, swear, quarrel, drab, . . . only—let him ply his music: true cavalier-breeding!" Clarke: "Let him go on to what tune he pleases," which would agree well with the explanation of line 71 suggested by Clar. Press.
- ↑ 77. closet] a private chamber, as in III. ii. 346. This is the only entirely sincere meeting of Hamlet with Ophelia in the play; and it is entirely silent—the hopeless farewell of Hamlet. Can her love discover him through his disguise of distraction? He reads nothing in her face but fright; he cannot utter a word, and feels that the estranging sea has flowed between them. In no true sense do they ever meet again.