I am afraid lest I should venture too far in correcting this passage.  If whips be retained, we may read,

  For who would bear the whips and scorns of tyrant.

But I think that quip, a sneer, a sarcasm, a contemptuous jest, is the proper word, as suiting very exactly with scorn.  What then must be done with time? it suits no better with the new reading than with the old, and tyrant is an image too bulky and serious.  I read, but not confidently,

  For who would bear the quips and scorns of title.

It say be remarked, that Hamlet, in his enumeration of miseries, forgets, whether properly or not, that he is a prince, and mentions many evils to which inferior stations only are exposed.

III.i.77 (236,4) To groan and sweat] All the old copies have, to grunt and sweat.  It is undoubtedly the true reading, but can scarcely be borne by modern ears.

III.i.89 (237,5) Nymph, in thy orisons] This is a touch of nature.  Hamlet, at the sight of Ophelia, does not immediately recollect, that he is to personate madness, but makes her an address grave and solemn, such as the foregoing meditation excited in his thoughts.

III.i.107 (237,6) That if you be honest and fair, you should admit no discourse to your beauty] This is the reading of all the modern editions, and is copied from the quarto.  The folio reads, your honesty should admit no discourse to your beauty.  The true reading seems to be this, If you be honest and fair, you should admit your honesty to no discourse with your beauty.  This is the sense evidently required by the process of the conversation.

III.i.127 (238,7) I have thoughts to put them in] To put a thing into thought, is to think on it.

III.i.148 (239,8) I have heard of your paintings too, well enough] This is according to the quarto; the folio, for painting, has prattlings, and for face, has pace, which agrees with what follows, you jig, you amble.  Probably the author wrote both.  I think the common reading best.

III.i.152 (239,9) make your wantonness your ignorance] You mistake by wanton affectation, and pretend to mistake by ignorance.

III.i.161 (239,2) the mould of form] The model by whom all endeavoured to form themselves.

III.ii.12 (241,3) the groundlings] The meaner people then seem to have sat below, as they now sit in the upper gallery, who, not well understanding poetical language, were sometimes gratified by a mimical and mute representation of the drama, previous to the dialogue.

III.ii.14 (242,4) inexplicable dumb shews] I believe the meaning is, shews, without words to explain them.

III.ii.26 (242,6) the very age and body of the time, his form and pressure] The age of the time can hardly pass.  May we not read, the face and body, or did the author write, the page?  The page suits well with form and pressure, but ill with body.