520 Retzsch's Outlines of Shakspcarc. 



those touches, a la Hogarth, in which the artist seems to have worse 

 than failed. There hangs tip in this chamber (where the murderer 

 retires to pray), a picture of the first murder ! and the stool on which 

 he is leaning is embroidered with a scorpion. 



PLATE the NINTH represents the killing of Polonius in the chamber 

 of the queen. In a scene like this it is assuredly injudicious (and it is 

 undoubtedly an unwarrantable liberty with the author) to shew us Polo- 

 nius behind the arras, writhing in a ludicrous agony, under the death- 

 wound he has just received. For the rest, the scene is well enough, but 

 not to be particularly commended. 



PLATE the TENTH Here the ghost returns (in the same scene), and 

 with it the inspiration of the artist. The whole scene is excellent. The 

 maternal affection and solicitude of the queen, blending with the sadness 

 arising from her secret remorse ; the surprised, yet not disturbed or 

 over-balanced air of the prince ; the supernatural dignity and solemnity 

 of the ghostly presence ; and, finally, the now dead imbecility of Polo- 

 nius, whose body has fallen backward into the chamber ; all this pre- 

 sents a very fine and impressive scene. Our worthy German commen- 

 tators will, no doubt, find, besides all this, sundry other occult matters in 

 this fine scene such as a type of our triune state of being, life, death, 

 and immortality, &c. &c. ; and conscience forbid that we should restrict 

 them in the exercise of their newly-invented art, of getting more out of 

 the measure than it contains. But, for our parts, this plate is so good, and 

 full of matter, that we are content to take it for what it is a real scene 

 from Shakespeare's play of Hamlet. 



PLATE the ELEVENTH represents Ophelia, distraught, singing her 

 sadly-sweet ditties, and distributing her weeds and flowers (Act 4, c.5.). 

 In Ophelia, herself, there is nothing to remark on literally nothing ; 

 but, in the face and air of Laertes, there is a fine and intent meaning ; 

 and the king and queen are depicted with great truth of character. 

 There is, also, a death-like stillness over the whole scene, which is highly 

 appropriate and expressive. This is produced by the motionless attitudes 

 of all the listening parties. 



PLATE the TWELFTH is the grave-digging scene in the church-yard, 

 with the procession of Ophelia's funeral entering it in the distance. 

 Here, again, Hamlet comes upon us in a manner that does not materi- 

 ally interfere with our notions of him, as acquired from Shakespeare, 

 which is what we can scarcely say in regard to any other of these plates, 

 unless it be the third and fourth. He is reflecting on the skull of Yorick. 

 " Here hung those lips," c. ; and here he is, at once, the prince, the 

 poet, and the subtle refiner upon human life, and its ends, which Shakes- 

 peare and nature have made him. There is a good effect of height given 

 to the church in this plate, by carrying it up, quite out of the picture. 



PLATE the THIRTEENTH. This is a plate of many figures, and very 

 elaborate representing the personal contest between Hamlet and 

 Laertes, in the grave of Ophelia, while all the assembled court and popu- 

 lace, are looking on. There is, undoubtedly, very considerable general 

 talent shewn in this scene ; but few, if any, separate and individual 

 strokes of genius ; unless it be in the unity of effect which the whole 

 produces, by the art with which each face, figure, and action, is made to 

 conduct and fix the attention upon the chief and centre point of interest. 

 The expressions are extremely various ; but they arc all sufficiently dis- 

 tinct, and not one of them is either inappropriate or exaggerated. 



