inted in 1605, in a manner which indicates
that the former drama was very well established in the memories of the
audience. There is a parody on one of Ophelia's songs which is of some
interest in regard to the question of the critical value of the quarto of
1604; the occurrence of the word "all" before "flaxen" showing that the
former word was incorrectly omitted in all the early quartos excepting
in that of 1603. One of the subordinate characters in _Eastward Hoe_ is
a running-footman of the name of Hamlet, who enters in great haste to
tell the coachman to be ready for his mistress, whereupon Potkin, a
tankard-bearer, says: "Sfoote, Hamlet, are you madde? Whether run you
nowe? You should brushe up my olde mistresse."

There is an unsupported statement by Oldys to the effect that Shakespeare
received but five pounds for his tragedy of _Hamlet_, but whether from
the company who first acted it or from the publisher is not mentioned.
This is the only information that has reached us respecting the exact
emolument received by Shakespeare for any of his writings, but it cannot
be accepted merely on such an authority. It is, however, worthy of remark
that Greene parted with his _Orlando_ to the Queen's Players for twenty
nobles; so the sum named appears to have been about the usual amount
given for a play sold direct from the author to a company, but in all
probability, when _Hamlet_ was produced, Shakespeare was playing at the
Globe Theatre on shares.

Notwithstanding the extreme length of the tragedy of _Hamlet_, there
is such a marvellously concentrative power displayed in much of the
construction and dialogue that, in respect to a large number of the
incidents and speeches, a wide latitude of interpretation is admissible,
the selection in those cases from possible explanations depending upon
the judgment and temperament of each actor or reader. Hence it may be
confidently predicted that no aesthetic criticisms upon this drama will
ever be entirely and universally accepted, and as certainly that there
will remain problems in connection with it which will be subjects for
discussion to the end of literary time. Among the latter the reason or
reasons which induced Hamlet to defer the fulfilment of his revenge may
perhaps continue to hold a prominent situation, although the solution of
that special mystery does not seem to be attended with difficulties equal
to those surrounding other cognate inquiries which arise in the study