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Pictorial Shakespeare, 1880-1890 - eTheses Repository - University ...

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109<br />

"paddock" (Theoualrl*s emendation), and after the hysterical<br />

"impromptus" (to which The Stage referred, mysteriously, as<br />

Barrett's "only point") Hrmlet sank into Horatio's arms 26 .<br />

"You might have rhymed" was cut - Irving had ellowed Horatio<br />

this touch of humorous detachment, but Barrett felt the need<br />

to preserve a aerious tone.<br />

In the business with the recorders, Barrett f s Hamlet<br />

was at his most suave, restraining his impatience in order<br />

to "quietly rebuke" Rosencrantz and Guildenstern with the<br />

pipe, which, The Ti^.es remarkod, some tragedians were "accustomed<br />

to snap in two in an uncontrollable fury". Booth and<br />

Irving both took the pipe, snapped it, and flung the pieces<br />

from them. Barrett, when oummoned to speak v;ith uertrude,<br />

left the stage cautiously, looking round him in the shadows,<br />

and then, in the porch through v/hich he rauut pass, whipping oiit<br />

his sv/ord and stabbing at the darkness.<br />

The third ocone of the act bec-'-n with Claudius's brief<br />

instructions to Rosencrantz and Guildenstern, and Polonius's<br />

news that Hamlet is going to his mother's closet, and will<br />

be overheard. Rosencrantz's lecture on politics ("The single<br />

and peculiar life is bound..*") vras omitted, but the scene<br />

was much longer than that given by Irving, v/ho had cut Polonius's<br />

appearance, Hamlet's arrive:! during Claudius's prayer, and<br />

a good pert of the King's speech.<br />

?P<br />

At the '-rincesB's,Polonius's<br />

departure was followed by Claudius drav/ing asit'e a<br />

curtain to reveal a cnrll altar (prompt-copy). Punch mocked<br />

"a brilliant coverlet and a gaudily painted cr.ico" in thic<br />

oratory - evidently a further example of Godwin's volley of<br />

using bri •.•.rbl.y coloured properties and hangings against a<br />

dr.rk background, ./illard, given a chance to aovelop Claudius'c<br />

character usually denied the rotor, spoke hie :oliloquy<br />

"admirably" - as Scott described it. Gocwin's rehearsal notos<br />

include "cJ-,3cch by kneeling king too ^ao;. ion .to and too<br />

jerky".<br />

The scene nov; changed to Gertrude'c car nbor - "Grs c!o-.vn",<br />

as the pronnt-copy remind, us. Bavrctt urjocl III.4, followed<br />

without change of location by IV.1 and 3. He onitted IV.2 and<br />

4. Irving had onittod IV.1 - Claudius and Gertrude - and<br />

everything before IV.5, v/liich began hie fourth ret.

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