show virtue her own feature,
scorn her own image, and the very age and body of the time his form
and pressure.

--SHAKESPEARE.

Let us consider together the problem of vocally interpreting this speech
of Hamlet's, keeping the mind of the auditor constantly before us, the
special factor in our problem which is the concern of this study. What
is the first point to be determined? The situation, is it not? Remember,
in our previous discussion I have made it clear that it is not essential
_to our present purpose_ that we should know, in determining our
situation, the exact conditions under which this speech was delivered.
Neither is it essential _to our present purpose_ that we should make an
exhaustive study of the play of "Hamlet" or of the character of the
Prince of Denmark. Lest you mistake me I must reiterate the fact that
an interpretation of these lines, looked upon as Hamlet's speech, would
require just such exhaustive study of context and character--study which
would lead to that complete possession which alone insures perfect
expression; but it is legitimate at this point in our study of vocal
expression to use this text quite apart from its context as a perfect
example of direct appeal. It is legitimate to _imagine_ a situation of
our own in which this thought could be pertinently expressed. We must
then first determine what you, the speaker, are to represent, and the
nature of the audience you are to address. One word in the text more
than any other, perhaps, determines these points--the word "players."
With this word as a key to a probable situation, let us imagine that
you, the one who must "speak this speech," are a stage-director of your
own play, and that we, the class to whom you must speak, are a company
of players (actors, as we now call them) which is about to present your
play. The fact that this is exactly the situation in Shakespeare's play
from which this speech is taken is interesting, but does not affect our
attitude toward the text. But that we should assume the state of mind
which animated the author of the _Mouse-trap, is_ vital to our problem.
Hamlet was intent upon getting an effect incalculably potent from the
delivery of the "speech" he "had pronounced." You must imagine that you
have written not merely a play, but a play which you intend shall have a
powerful influence upon the lives of the people who are to hear it. Once
more, then, let