the
Haymarket; but here he just shovels a handful of mould into the grave,
and then, without rhyme or reason (with both of which he has been
plentifully supplied by SHAKSPEARE), suddenly away he goes, merely to
allow for the "business" of _Hamlet's_ re-entrance. But why shouldn't
there be here, prior to the return of _Hamlet_, a re-entrance of the
Second Gravedigger, as if coming back from friend YAUGHAN's with
the pot of ale? The sight of this would attract First Gravedigger,
and take the thirsty soul most readily from his work to discuss
the refreshment in some shady nook. Then by all means let _Hamlet_
return to pour out his grief; and on this picture ought the Curtain
effectively descend.

A novel point introduced by Mr. TREE is that his _Hamlet_,
entertaining an affectionate remembrance of the late YORICK, assumes a
friendly and patronising air towards YORICK's successor, a Court Fool,
apparently so youthful that he may still be supposed to be learning
his business. So when His Royal Highness _Hamlet_ has what he
considers "a good thing" to say, Mr. TREE places the novice in jesting
near himself, and pointedly speaks at him; as e.g., when, in reply to
the King's inquiry after his health, he tells him that he "eats air
promise-crammed," adding, with a sly look at the Court Fool, "you
cannot feed capons so." Whereat the Fool, put into a difficult
position, through his fear of offending the Prince by _not_ laughing,
or angering the King (his employer) by laughing, has to acknowledge
the Prince's witticism with a deferential, but somewhat deprecatory,
snigger.

Again, when _Hamlet_ is "going to have a lark" with old _Polonius_--a
proceeding in exquisitely bad taste by the way--Mr. TREE's _Hamlet_
attracts the young Court Jester's attention to his forthcoming
novelty. Now this time, as the repartee is about as rude a thing
as any vulgar cad of an 'ARRY might have uttered, the professional
Jester, who evidently does not owe his appointment to the Lord
Chamberlain's favour, and is exempt from his jurisdiction, grins
all over his countenance, and hops away to explain the jest to some
of the courtiers, while _Hamlet_ himself, to judge by his smiling
countenance, is clearly very much pleased with his own performance
in showing a Jester how the fool should be played. And this notion
is consistent with the character of a Prince who takes upon himself
to lecture the Actors on their own art. There is no subtler touch in
SHA