[Footnote 73:  Many readers and critics imagine that Hamlet went straight to Ophelia’s room after his interview with the Ghost.  But we have just seen that on the contrary he tried to visit her and was repelled, and it is absolutely certain that a long interval separates the events of I. v. and II. i.  They think also, of course, that Hamlet’s visit to Ophelia was the first announcement of his madness.  But the text flatly contradicts that idea also.  Hamlet has for some time appeared totally changed (II. ii. 1-10); the King is very uneasy at his ‘transformation,’ and has sent for his school-fellows in order to discover its cause.  Polonius now, after Ophelia has told him of the interview, comes to announce his discovery, not of Hamlet’s madness, but of its cause (II. ii. 49).  That, it would seem, was the effect Hamlet aimed at in his interview.  I may add that Ophelia’s description of his intent examination of her face suggests doubt rather as to her ‘honesty’ or sincerity than as to her strength of mind.  I cannot believe that he ever dreamed of confiding his secret to her.]

[Footnote 74:  If this is an allusion to his own love, the adjective ‘despised’ is significant.  But I doubt the allusion.  The other calamities mentioned by Hamlet, ’the oppressor’s wrong, the proud man’s contumely, the law’s delay, the insolence of office, and the spurns that patient merit of the unworthy takes,’ are not at all specially his own.]

[Footnote 75:  It should be noticed that it was not apparently of long standing.  See the words ‘of late’ in I. iii. 91, 99.]

[Footnote 76:  This, I think, may be said on almost any sane view of Hamlet’s love.]

[Footnote 77:  Polonius says so, and it may be true.]

[Footnote 78:  I have heard an actress in this part utter such a cry as is described above, but there is absolutely nothing in the text to justify her rendering.  Even the exclamation ‘O, ho!’ found in the Quartos at IV. v. 33, but omitted in the Folios and by almost all modern editors, coming as it does after the stanza, ’He is dead and gone, lady,’ evidently expresses grief, not terror.]

[Footnote 79:  In the remarks above I have not attempted, of course, a complete view of the character, which has often been well described; but I cannot forbear a reference to one point which I do not remember to have seen noticed.  In the Nunnery-scene Ophelia’s first words pathetically betray her own feeling: 

                       Good my lord,
     How does your honour for this many a day?

She then offers to return Hamlet’s presents.  This has not been suggested to her by her father:  it is her own thought.  And the next lines, in which she refers to the sweet words which accompanied those gifts, and to the unkindness which has succeeded that kindness, imply a reproach.  So again do those most touching little speeches: 

Hamlet. ...  I did love you once.