1828.] Retzsch's Outlines of Shakspeare. 621 



Finally, there is a heightening, yet, at the same time, a stilling and sad- 

 dening effect given to the whole, by the flower-crowned corpse of 

 Ophelia, which lies between the disputants. By-the-bye, perhaps, we 

 should except, from our denial of any individual instance of high merit 

 in this scene, the expression of the king. He seems to think that there 

 is, indeed "something dangerous" in Hamlet, if he will so conduct 

 himself at a moment like this ; and he lifts himself up with a sort of tip- 

 toe, and shrinking astonishment, at imagining what so reckless a person 

 may be likely to do next. 



PLATE the FOURTEENTH. There is great general merit in this scene, 

 as well as in the last. Indeed it is astonishing that so clear, distinct, and 

 forcible a representation can be produced by means of outlines merely. 

 This plate depicts the wager with the foils {Act 5, Sc. 2.). There is, 

 perhaps, some little confusion in the previous scene, on account of the 

 numerous figures ; but here, where there is almost as many, there is 

 none whatever. Neither is there the slightest theatrical effect attempted. 

 All is as still, dull, and decorous, as becomes the floor of a presence 

 chamber, and the presence of a king among his courtiers. In some of 

 the individual expressions, too, there is shewn great refinement of per- 

 ception, set forth by great practical skill of hand. There are no less 

 than five heads, which are remarkable in this respect, from the extreme 

 delicacy of the shades of distinction between each. We allude to the 

 Osrick, on the left ; the three heads immediately behind the king ; and 

 the one on the right, behind Hamlet. Hamlet himself, in this scene, is 

 again a total failure j but Laertes is very good. The king and queen are 

 indifferent. The point of time is where Hamlet puts by the offered 

 drink. 



PLATE the FIFTEENTH. We have here the same scene, and the same 

 persons, under a totally different aspect ; and the contrast is very striking 

 and effective. The point of time is where Hamlet stabs the king : 

 " then, venom, to thy work !" The utter, open-mouthed astonishment of 

 the king is admirable ; and the helpless wonderment of Osrick is equally 

 so ; and in all the rest of the action and grouping, there is much natu- 

 ral force and spirit, without any violence or exaggeration. With Hamlet, 

 however, we are still dissatisfied. 



PLATE the SIXTEENTH. This plate, which is the last, is one that we 

 do not see any occasion for. It merely shews the dead bodies of the 

 parties killed in the last scene, which are placed on biers, at the sugges- 

 tion of Horatio, in order that he may explain to " the yet unknowing 

 world/' how they came by their death. In a scene like this there is no 

 scope whatever for the expression of human passion ; and, we are de- 

 cidedly of opinion, that the last plate should have been the closing one. 

 Nevertheless, there is great variety and individuality, in the numerous 

 faces introduced, of populace, soldiers, c. We may add, too, that the 

 artist seems to have understood Hamlet himself, when dead, better than 

 while living j for his figure on the bier is better worthy of him than 

 almost any other. We are confirmed, too, in this opinion, by a sort of 

 vignette plate, which ornaments the cover of the work before us. It 

 represents an imaginary sarcophagus of Hamlet, and includes figures of 

 the principal dramatis persona?. On a tablet, forming the front, is in- 

 scribed " Hamlet." Above is the figure of the dead prince, lying after 

 the fashion of the old effigies on tombs. Above, rising from either corner 

 to a point, is a gothic arch, in the centre of which is the plumed and 



