eality has no existence;"--that is, in the particular case, "ape the
chastity you do not in reality possess"--is understood in this sentence;
and consequently Hamlet, and through him, Shakspere, stand committed to
the appalling doctrine that hypocrisy in morals is to be commended and
cultivated. Now, such a proposition never for an instant entered
Shakspere's head. He used the word "assume" in this case in its primary
and justest sense; _ad-sumo_, take to, acquire; and the context plainly
shows that Hamlet meant that his mother, by self-denial, would gradually
acquire that virtue in which she was so conspicuously wanting. Yet, for
lack of a little knowledge of the history of the word employed, the
other monstrous gloss has received almost universal and applauding
acceptance.

4. This is a fair example of the style of error which a reader
unacquainted with the history of the changes our language has undergone
may fall into. Ignorance of changes in customs and morals may cause
equal or greater error.

The difference between the older and more modern law, and popular
opinion, relating to promises of marriage and their fulfilment, affords
a striking illustration of the absurdities that attend upon the
interpretation of the ideas of one generation by the practice of
another. Perhaps no greater nonsense has been talked upon any subject
than this one, especially in relation to Shakspere's own marriage, by
critics who seem to have thought that a fervent expression of acute
moral feeling would replace and render unnecessary patient
investigation.

In illustration of this difference, a play of Massinger's, "The Maid of
Honour," may be advantageously cited, as the catastrophe turns upon this
question of marriage contracts. Camiola, the heroine, having been
precontracted by oath[1] to Bertoldo, the king's natural brother, and
hearing of his subsequent engagement to the Duchess of Sienna,
determines to quit the world and take the veil. But before doing so, and
without informing any one, except her confessor, of her intention, she
contrives a somewhat dramatic scene for the purpose of exposing her
false lover. She comes into the presence of the king and all the court,
produces her contract, claims Bertoldo as her husband, and demands
justice of the king, adjuring him that he shall not--

"Swayed or by favour or affection,
By a false gloss or wrested comment, alter
The true intent and letter of the law."

[Footnote